270298481

Messiah College
Mosaic
Graduate Education Student Scholarship Education
Summer 2017
STEAM Curriculum: Arts Education As An Integral Part Of

Interdisciplinary Learning
Taryn Tenaglia
Messiah College
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Part of the Curriculum and Instruction Commons, and the Secondary Education Commons
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Recommended Citation
Tenaglia, Taryn, "STEAM Curriculum: Arts Education As An Integral Part Of Interdisciplinary Learning"
(2017). Graduate Education Student Scholarship. 11.
https://mosaic.messiah.edu/gredu_st/11
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STEAM Curriculum: Arts Education As An Integral Part Of Interdisciplinary Learning
Taryn Tenaglia
Messiah College
Curriculum and Instruction Research Project
Dr. Janet DeRosa
Summer 2017
RUNNING HEAD: STEAM CURRICULUM PLAN 2
Abstract
This research project contains an extensive exploration of a STEAM (Science,
Technology, Engineering, Art, and Math) approach to curriculum and instruction.
STEAM is continually growing as an educational model in transition from the STEM
educational (Science, Technology, Engineering, and Math) model. The research is a
response to a two-fold problem in education: a lack of preparation for future leaders in
careers that require innovative-thinking and a need for advocacy for the arts in public
education. The literature review provides an expansive look at the present information
available on STEAM frameworks, programs, curricula design, and teaching practices.
Four emergent themes are illustrated within the research: problem solving practices,
inquiry-based thinking, collaboration, and student choice. Currently there is not an
official STEAM framework or a comprehensive STEAM curriculum plan for secondary
educators. The product that evolved from the STEAM research is a secondary education
curriculum plan that includes a semester-at-a-glance, Know-Understand-Do (KUD)
charts, learning maps, and unit plans. This interdisciplinary curriculum provides a
solution to the research problem as it is intended to promote innovative solutions and the
value of arts education. In the discussion, the researcher explains how to utilize the
curriculum components to foster interdisciplinary thinking and avoid superficial
integrated or cross-curricular lesson plans by implementing the unit objectives.
Keywords: STEM, STEAM, curriculum, instruction, interdisciplinary, secondary
education
Table of Contents
Introduction ....................................................................................................................... 4
Overview of topic ............................................................................................................ 4
Narrative...................................................................................................................... 4
Contextualizing the topic ............................................................................................. 7
Purpose of the study .................................................................................................... 8
Methodology .............................................................................................................. 10
Limitations to the study ............................................................................................. 10
Definition of terms ..................................................................................................... 12
Literature review ............................................................................................................. 13
Approaches to STEAM Curricula Design ..................................................................... 13
STEM to STEAM Examples…………………………………………………………17
Interdisciplinary and Transdisciplinary Education ........................................................ 20
Integrated Thinking……………………………………………………………………23
STEAM Teaching Practices .......................................................................................... 25
Research project .............................................................................................................. 30
Semester-at-a-glance ..................................................................................................... 34
STEAM Unit Plans ........................................................................................................ 38
Discussion ......................................................................................................................... 72
Implications for future research .................................................................................... 73
Epilogue ............................................................................................................................ 74
Chapter 1
Introduction
This research project is a secondary education interdisciplinary curriculum plan,
which entails five unit plans, Know-Understand-Do (KUD) charts, and curriculum maps
with essential questions, standards, and key concepts. The entire curriculum plan is based
on a Science, Technology, Engineering, Arts, and Math (STEAM) framework and each
unit combines art or design with a Science, Technology, Engineering, and Math (STEM)
discipline. Included in this chapter introduction is an illustration of the researcher’s
passion for art and education as a result of her Christian faith. There are a variety of
published journal articles that discuss the new buzzword in education, “STEAM”, and
what it looks like in practice. Publications are used to describe the purpose and function
of STEAM education as well as the reason that this topic is in need of further research
and resources. Additionally, the methods in which data and research were gathered are
outlined and the limitations to the research are described.
My Narrative
I chose to formulate a STEAM curriculum plan because I believe that the arts
deserve a voice amongst the designated core courses and that they should be viewed as an
equivalent instead of supplemental to STEM courses. The concept of STEAM education
appeals to me because it validates the arts in addition to fostering innovative, critical
thinking skills in students. Our students need to be better prepared for their futures and
for careers that demand problem-solving skills. In the real world, content matter is not
divided into solitary boxes, but rather it is intertwined and real-life problems require
multiple skillsets. The arts offer more than an outlet for personal expression; they provide
“Reasoning ability, intuition, perception, imagination, inventiveness, creativity, problem-
solving skills…” (Ruppert, 2006, p.13). Including the arts with STEM subjects in a
meaningful manner will provide our students with a well-rounded education and equip
them with the skillsets needed to solve complex problems. Art and design can be seen
throughout our daily lives in media, architecture, literature, fashion, music, and
marketing; it is arts education that allows these careers to flourish.
The functions of art are multifaceted due to its many different influences from
society and religion. I am both an artist and a Christian; my journey of practicing both of
these roles has forced me to ponder how these two aspects of my life can intertwine and
function together for a greater purpose. Art and design have been a large part of my life
since childhood as I have always had an innate desire to work with my hands, create, and
render my thoughts and inspirations via artistic outlets. This passion and gift has been
given to me in order to use it for God’s greater purpose. William Dyrness writes about
how our passions and desires forge our identities in our everyday lives and can function
as a devotion to God, leading us to His presence (2011, p. 5). I am motivated to use my
gift as a means to honor and glorify God and illuminate His love and beauty to others.
Creating art is not only a service between us and God or us and our society, but also a
means of connecting us, our fellow Christians, and God in a continuous conversation in
which we can share insight. My artistic ability is a spiritual gift as well as a reflection of
the original Creator of the heavens and the earth. All art derives from the Lord who is the
greatest Artist. I know from the book of Genesis that all things originate from God and
His artistic creation of all things living. I also know that God grants His children artistic
ability because he told Moses to appoint Bezalel to design and construct a temple. The
Bible says, “…and I have filled him with the spirit of God, with ability and intelligence,
with knowledge and all craftsmanship, to devise artistic designs…” (Exodus 35:31-32,
English Standard Version).
With the knowledge that God has granted me with the innate desire to create, I
feel led to serve Him by modeling the importance of the arts for my students and
stimulating their own artistic abilities. Educators have demanding positions, which is why
most of them have an underlying reason for choosing this vocation. Carr, Fauske, and
Rushton (2008) make the claim that “Often, the choice of education as a career is based
on a genuine desire to serve, to make a difference in the lives of children” (p. 7). I
recognize that my desire to be an educator stems from my calling to serve others.
According to Hannay, Kitahara, and Fretwell (2010), “The attributes common in servant
leaders are very similar to those that characterize effective teachers” (p. 5). The concept
of servant leadership intrigues me and I feel that it is what I am called to do and
convicted to do as a Christian educator. This STEAM curriculum that I have formulated
allows me to combine my desire to advocate for the importance of arts education as well
as implement characteristics of servant teaching.
Contextualizing the Problem
In our current society there is ongoing growth in technological advancement and
STEM jobs, with a need for individuals to fill positions that will further expand these
discoveries with innovative ideas (Vilorio, 2014, p. 5; Keane & Keane, 2016, p. 78).
However, there is a lack of preparation and lack of programs for future leaders in careers
that require innovative thinkers and the U.S. is falling behind in scientific innovation
(Sharapan, 2012, p. 36; Quiqqley & Herro, 2016, p. 410). Schools have been emphasizing
the importance of STEM programs and curriculum to teach and encourage students to
pursue careers in these fields because of the idea that, “…STEM fields drive critical
innovation and that innovation… is explicitly tied to economics” (Liao, 2016, p. 44;
Quiqqley & Herro, 2016, p. 410). According to Ghanbari (2015), STEM jobs are
growing three times as fast as non-STEM careers (p. 4). Yackman (2008) states that
educational leaders are promoting STEM programs in order, “…to produce more
scientists, mathematicians and engineers who are capable of leading the discoveries and
developments of the future” (p. 2). The STEM acronym (Science, Technology,
Engineering, and Math) was formulated by the National Science Foundation (NSF) in the
early 1990’s and grew in popularity due to policymakers and the Obama administration’s
goal to produce more STEM graduates (Ghanbari, 2015, p. 4). STEM refers to groups
from each of the four content areas or fields of study working together in order to solve
complex, real-world problems (Vilario, 2014, p. 3). The issue is that the number of
students pursuing STEM fields is decreasing (Liao, 2016, p. 44). An additional problem
is that STEM curriculum excludes the arts or dilutes the impact of the arts and therefore
is lacking in teaching creative and innovative thinking (Liao, 2016, p. 45). Vilorio (2014)
states that, “Critical and creative thinking help STEM workers in problem solving…”
because it helps them to formulate innovative solutions or creatively approach problems
(p. 9).
This push for STEM has caused art educators to be concerned about the integrity
of art and its place in education (Liao, 2016, p. 45). This is how the STEAM (STEM +
Arts) movement has come to fruition. The National Art Education Association (NAEA)
defines STEAM as, “the infusion of art and design principles, concepts, and techniques
into STEM instruction and learning” (Liao, 2016, p. 45). According to Quiggley and
Herro (2016), there is little research done on STEAM teaching practices and little
understanding of STEAM teaching, but the use of STEAM is growing nationally and
globally (p. 411). STEAM has made its way into our legislature; there has recently been
an amendment to the ESSA (Every Student Succeeds Act) that states that, “…integrating
other academic subjects, including the arts, into STEM subject programs to increase
participation in STEM subjects, improve attainment of skills related to STEM subjects,
and promote well-rounded education” (McClanahan, 2016). The STEAM movement is
intended to showcase the Arts as a core subject, not a supplementary elective (Ghanbari,
2015, p. 2). A STEAM curriculum framework is a solution to the need for more creative,
innovative thinkers in the workforce and a solution for the need to validate the arts in
education.
Purpose of the Study
STEAM is still in the process of gaining momentum as an educational model.
According to Watson (2016), STEAM best practices are still in need of exploration, but,
“We are beginning to see trends; anecdotally, we see successes when STEAM is blended
with inquiry methods such as Project-Based Learning and metacognitive constructs such
as Design Thinking” (p. 9). The seemingly disparate disciplines have similarities that
would make integration a possibility. Bequette and Bequette (2012) claim that art and
engineering both require complex cognitive processes and that, “Art, like engineering, is
concerned with finding answers to problems and seeking visual solutions using the design
process” (p. 44). There are some schools that are beginning to implement a STEAM
program, but it is still a new and growing concept. For educators, there are no cohesive
curriculum plans, nor are there specific STEAM program frameworks available to build a
STEAM program or curriculum in secondary schools. Ghanbari (2015) stated that, “…at
this point there is minimal research sharing the process of creating STEAM based
curriculums and partnerships” (p. 2). Due to this need for more STEAM curriculum
resources, the purpose of this project is to create a secondary education STEAM
curriculum plan that utilizes a STEAM framework. This semester-long curriculum plan
has units that contain cross-curricular standards and goals for projects that will foster
creative, innovative, and critical thinking. Each unit of the curriculum plan integrates art
and/or design with a STEM discipline. The overall plan creates a true collaboration
amongst disciplines and promotes holistic learning by including the Arts with logic-
driven content areas. Since there are not many STEAM tools or resources readily
available for educators, there are many STEM lesson plans that include an Art element as
an after-thought to a project (Quiggley & Herro, 2016, p. 411). In contrast, this STEAM
curriculum starts with an authentic, meaningful Art component that is enhanced with one
or more STEM components. The overall goal is to demonstrate intentionality in the
combination of disciplines in order to meet curricular standards and objectives of more
than one content area.
Methodology
In formulating a STEAM curriculum plan, extensive research on the concept of
STEAM, as well as implementation of STEAM programs or curriculum, will be

explored. Data from academic journal articles will be collected, reviewed, and organized
according to common themes of project-based learning, integrated curriculum, and
transdisciplinary thinking. Also, data will encompass information regarding the
following: STEAM education frameworks or models, examples of a transition from
STEM to STEAM, and STEAM teaching practices. Comprehensive research efforts in
constructing a curriculum plan provides a research-based STEAM framework and
teaching practices that will be utilized as a foundation for each unit. Organizing the
literature and research by common themes allows the researcher to recognize the voids or
limitations in the research in this topic.
Limitations to the Study
Future mixed-method studies are needed to study the effects of integrating the arts
with STEM disciplines and determine whether a STEAM framework solves the problem
of lack of innovation and creative thinking needed for growing STEM careers. Some
information is lacking on the topic of a STEAM interdisciplinary curriculum framework,
and ongoing research is needed for determining the efficacy of the framework and
proposed models. One of the areas in need of more research is a secondary education
STEAM program. The literature appeared to focus on elementary and collegiate level
students. There is a need to determine what a STEAM program looks like in comparison
to a STEM program and whether arts integration enhances overall academic success for
secondary level students. Current research also does not conclude whether the
integration of arts education promotes innovative thinking more than the seclusion of
disciplinary studies. It would be beneficial for this research topic to collect quantitative
data on its efficacy as well as more qualitative data regarding secondary-level teacher
observations and student-based reflections regarding their attitudes toward STEAM.
Another limitation is lack of time and resources for secondary-level educators to
collaborate amongst themselves in order to create and implement a truly integrated
STEAM curriculum. In order to thoroughly meet cross-curricular objectives and
standards, educators would need to collaborate and/or co-teach so that an educator with
expertise teaches each content area of the particular unit. Otherwise, the STEAM
curriculum runs the risk of glossing over one of the STEM objectives or adding an art
project as an after-thought that does not require critical thinking skills to complete.
Common planning time for teachers is not prevalent in many secondary schools and it
requires administrative participation and planning.
STEAM holds the view that the arts possess equivalent value to the math and
science courses. However, there may be remaining stigma against the arts as a core
subject that impedes a successful integration of the arts with STEM disciplines. As the
arts are not a state-tested subject and the arts courses are labeled as electives, they are still
viewed as a nonessential or a supplemental element to a student’s education. This stigma
could deter STEM teachers from making time for collaboration with the arts educators
and revising curriculum.
Definition of Terms
The following terms are operationally defined for the study:
STEM: Science, Technology, Engineering, and Math

STEAM: Science, Technology, Engineering, Art, and Math
PBL: Project-based learning, “PBL is the ongoing act of learning about different subjects
simultaneously.” (Wolpert-Gawron, 2015)
Interdisciplinary: Integrating several disciplines in curriculum (Quiggley & Herro, 2016)
Transdisciplinary: Curriculum that starts with a problem to be solved using different
solutions, viewpoints, or perspectives (Quiggley & Herro, 2016)

Chapter 2
Literature Review
In the world of education today, accountability is becoming unavoidable;
educators are to ensure their students’ success and provide preparation for their students’
futures. The public school curriculum is a large part of the accountability that educators
must face. In recent years, there has been a growth in demand for a STEM (Science,
Technology, Engineering, and Math) program in schools to develop students in these
content areas in order to best prepare them for careers in these growing fields. However,
a STEM program does not incorporate the Arts, which may be an integral piece to
interdisciplinary education and an essential element for STEM careers that demand
innovative thinking (Grinnell and Angal, 2016, p. 54). According to Tillman (2015), “In
education, mathematics and science are often taught in a manner that lacks opportunities
for students to engage in creativity and the arts are allotted less time…” (p. 301). Clapp
and Jimenez (2016) assert that, “In an economic and political landscape that strongly
favors education in the STEM subjects, the STEAM agenda certainly appears to be a
viable means of reprioritizing the arts into the educational lives of young people” (p.
482). This twofold problem may have a solution in a STEAM curriculum framework that
integrates the arts with STEM disciplines.
Approaches to STEAM Curricula Design
There is a variety of research on a STEAM interdisciplinary or transdisciplinary
approach that examines the relationship between the arts and STEM content. According
to Yakman (2008), “STEAM is a developing educational model of how the traditional

academic subjects (silos) of science, technology, engineering, arts and mathematics can
be structured into a framework by which to plan integrative curricula” (p. 1). The
objectives of STEAM are to reconstruct research policy, advocate integration of Art
education in K-12, and to motivate employers to hire artists and designers to stimulate
innovative thinking (The Congressional STEAM Caucus, 2013). The following journal
articles investigate the application of this actively growing curriculum framework.
Mixed-Methods
In a mixed-methods design approach, researchers examined STEAM integrated
curriculum and pedagogy of pre-service elementary teachers using peer-evaluation
surveys and open-ended interview questions. The quantitative data elicited from the
surveys about STEAM lesson plans was intended to identify possible differences between
pre-service elementary teachers that are bilingual generalist regular generalist, or an
undecided generalist (Tillman, 2015, p. 314). In this study, bilingual generalists refers to
those who intend to teach in Spanish and in English, regular generalists refers to the
regular elementary education majors, and undecided generalist refers to those in an
education program who have undecided tracks (Tillman, 2015, p. 303). Qualitative data
was elicited from the teachers via interviews regarding their perspectives and attitudes
about the curriculum.
The peer-evaluated surveys were formulated using a scale that evaluated seven
objectives: “(1) Do the lessons creatively demonstrate innovative ways of teaching
mathematics or science? (2) Is lesson content closely related to the lesson objectives in a
creative manner? (3) Was there creativity used in developing an enjoyable learning
environment? (4) Are there enough creative challenges presented for students? (5) Are
the arts components creatively integrated with the mathematics? (6) Do the lessons try to
creatively create an equitable learning environment that respects all students’ ideas? (7)
Are there enough choices for students to creatively choose their own ways to solve the
problems?” (Tillman, 2015, p. 313). The open-ended interview questions asked the
teachers to compare and contrast their lessons with the others’ lessons in terms of
authentic creativity (Tillman, 2015, p. 313). Results show that all groups of teachers had
the most success with, “including creative innovation and creative connection” and the
least amount of success with, “including creative challenges and creative choices”
(Tillman, 2015, p. 320). Overall, there were very few differences among the three sets of
teachers who participated in the study (Tillman, 2015, p. 323).
The Pyramid Model
Using a pyramid style diagram, Yakman (2008) created a model for STEAM
curriculum that is founded on investigations of historical practices of specific fields of
education and educational psychologists’ theories. Her definition of STEAM is, “Science
and Technology, interpreted through Engineering and the Arts, all based in a language of
Mathematics” (Yakman, 2008, p. 18). The motivation for this model was to eradicate a
hierarchical system in which some disciplines dominate and others become
overshadowed or eliminated (Yakman, 2008, p. 11). The pyramid has four levels that
begin with content-specific material that transition to a holistic approach at the top level
(p. 17). She described the relationships among the disciplines as important because we
cannot have one discipline without the other (Yakman, 2008, p. 17).
Yakman’s research led to findings that a STEAM framework brings about
functional literacy in which students become capable of thinking across spectrums and
making connections between multiple disciplines (2012, p. 1075). She claimed that,
“This also assists them to better understand people and things rooted in other disciplines,
perspectives and cultures so they can communicate and work with one another while still
maintaining their own identities” (Yakman, 2012, p. 1075). Moreover, Yakman stated
that students could achieve more depth of knowledge when knowledge is transferred
from one discipline to another, which in turn is applicable to the real world (2012, p.
1076). She suggested that, “Teams of teachers can work together to provide in depth
coverage of their areas of expertise while reinforcing what students are learning in other
specific areas” (Yakman, 2012, p. 1078). Her findings also discovered a relationship
between the STEAM framework and the theories of cognitive and educational
psychologists such as constructivism, Vygotsky’s theory of proximal development,
Gardner’s Multiple Intelligences, Marzano’s Strategies, and Bloom’s Taxonomy
(Yakman, 2012, p. 1079-1080).
Interactive Art Approach
The authors Radziwill, Benton, and Moellers (2015) investigated what it means to
learn in a STEAM context and how to assess STEAM learning. They suggested that the
answer to a successful integrative arts-integrated curriculum revolves around interactive,
participatory, and dialogic art (Radziwill et al., 2015, p. 2). Interactive art is claimed to,
“…promote the discovery and development of meaning” and engage participants in a
reflective experience (Radziwill et al., 2015, p. 3). Participatory art is intended to provide
an open-ended narrative and dialogic art is a means of collaborating and creating
meaning through dialoguing (Radziwill et al., 2015, p. 3).

In an attempt to make STEAM tools more meaningful and applicable, the authors
formulated a model to be utilized, “… as a vehicle for creating complete and meaningful
experiences” (Radziwill et al., 2015, p. 3). The model for STEAM learning involves (1)
learning on four different levels (2) a creative ecosystem (3) learning that occurs in an
arbitrary, irregular fashion (4) future career benefits may not be immediate (5) learning is
emergent (Radziwill et al., 2015, p. 4). The four different levels of learning include:
stocks of knowledge, flows of knowledge, the changing of self-perception, and the
changing of others’ perceptions of the learner within the network (Radziwill et al., 2015,
p. 4). They stated that this model and the four levels of learning could be utilized to
assess STEAM learning; the intent should be to determine the acquisition or development
of skills and where or how meaning has been made (Radziwill et al., 2015, p. 5).
STEM to STEAM Examples
As STEM programs have become widely accepted as beneficial for school
curriculum, there have been questions as to how the Arts fit into the picture. Some
researchers have explored how a STEM framework can transform into an integrated
STEAM framework. Authors Wynn and Harris (2012) claimed that art and STEM
disciplines are of equal importance and that a STEAM framework would catalyze a shift
in academic success for American students (p. 42). They stated that this type of
framework is successful because it allows left-brained thinkers to visualize real-world
applications of math and sciences and helps visual or strategic thinkers to view hard
sciences as less threatening (Wynn & Harris, 2012, p. 43).
The Watershed Project

Wynn and Harris (2012) interviewed art educators for ideas on implementing
interdisciplinary topics and they provided a middle school project that exemplifies an
integrated curriculum. At RMS Middle School, a team of teachers consisting of the math,
science, and art teacher worked together to formulate and lead a Watershed project in
which the 6th grade students created a mosaic as a visual representation of the human
impact on the environment (Wynn & Harris, 2012, p. 46). They learned about natural
processes in the environment, conservation, and ecosystems. Each student kept a
sketchbook in which they used to collect information and sketch works-in-progress. The
teacher team took the students to do field work on the river and to an art museum with
their sketchbooks to note questions and observations. According to Wynn and Harris
(2012) this type of learning is important because, “Art students become better technicians
and conceptual thinkers through STEAM, while science students become more
imaginative and innovative” (p. 47).
The Aesthetic/Analytical Mode of Thought
Adding to this conversation are the authors Bequette and Bequette (2012) who
argued that, “…interdisciplinary work in the arts and sciences can lead to curricular
components that combine aesthetic and analytical modes of thinking to the betterment of
both science and art” (p. 43). They discussed how the artistic and design processes are
similar to problem solving processes used in the STEM disciplines, which make them
capable of melding together seamlessly. “Pedagogically, both art and engineering
education lend themselves to problem-based learning (PBL), a way to motivate and
integrate authentic learning in a discipline” (Bequette & Bequette, 2012, p. 44).
STEAM in the Everyday World

In another example of transitioning from STEM to STEAM, Sharapan (2012)
suggested that early childhood educators should apply Fred Rogers’ approach to learning
by, “…facilitating inquiry-based thinking and discovery” instead of presenting straight
facts (p. 37). She explained that utilizing the arts in curriculum allows children to express
STEM concepts (2012, p. 36). According to Sharapan (2012) each of the STEAM
disciplines elicits important skills or processes; science creates a sense of wonder and
curiosity, technology provides tools to be utilized, engineering illustrates that problems
have solutions, art promotes creativity and communication, and math provides
opportunity to compare and sort patterns (p. 37). Sharapan (2012) believes that STEAM
can be found in everyday life and that early childhood educators can take advantage of
teaching these concepts as they arise naturally (p. 37). In addition to building on natural
consequences, Sharapan (2012) suggested to expand on children’s natural interests,
encourage and appreciate their questions, invite visitors who work in STEAM careers
such as a project manager to the classroom, and create a meaningful context for learning
through discussions and relevant learning (p. 38-40).
Brock, Dunifon, and Nagel (2016) reiterated this practice with the claim that
children learn better with relevant subject matter because they need to connect ideas to
help explain the world around them (p. 49). They argued that the connections between
literature, the arts, and STEM are important to curriculum and learning (Brock et al.,
2016, p. 49). “Projects that fuse the arts with scientific inquiry are complementary and
require students to engage in critical and creative thinking” (Brock et al., 2016, p. 49).
Their article summarized a large-scale STEAM project, which derived from a thematic
extension of a novel involving 5 elementary schools and a local zoo (Brock et al., 2016,
p. 49). These schools communicated via Skype and blogging, they collaborated with the
local zoo, the teachers shared resources, and students were assessed using technology
applications such as Wordle, Animoto, or PowerPoint (Brock et al., 2016, p. 49-50). The
overall project consisted of the students conducting investigations with the zoo educators
to design and create dioramas, small literature circle discussion groups with each student
assigned a specific role, designing and creating animal crates with puzzle feeders
intended to simulate transportation of animals, and a study of gorilla paintings and
creation of original student artwork (Brock et al., 2016, p. 50-51). Throughout the
entirety of this project the students employed processes and practices from each of the
STEAM disciplines. The art element was not an after-thought, but rather it was
meaningfully incorporated into the unit. Students compared gorilla paintings to the work
of abstract artist Jackson Pollock and discussed elements of art used to elicit an emotional
response (Brock et al., 2016, p. 51). The unit was concluded with the students creating an
original abstract watercolor painting with the goal of eliciting an emotional response from
their audience (Brock et al., 2016, p. 51).
Interdisciplinary and Transdisciplinary Education
The STEAM educational model is not a completely new concept as it is based on
the idea of integration of subject matter and collaboration amongst educators. Berk
(2016) considers “…interdisciplinary and hybrid interactions between diverse
methodologies and skills” to be the solution to solving the complex challenges of today’s
society (p. 16). Keane and Keane (2016) state that integrated arts education allows
students an opportunity to learn and discover the world (p. 63). Guyotte, Kellam,
Constantino, and Sochaka (2014) suggested that we should view STEAM as, “…a means
toward overcoming the compartmentalized disciplinary approach to education” (p. 12).
The Transdisciplinary Design Studio
Authors Guyotte et al. (2014) discussed interdisciplinary thinking as a social
practice and they described contemporary artists whose works explore themes that are
transdisciplinary in order to illustrate how the arts are not disparate from the sciences (p.
13). Likewise, they described how engineering could also be viewed as a social practice
in which the goals revolve around “social and ecological justice” (Guyotte et al., 2014, p.
13). With this concept, a Transdisciplinary Design studio was created for undergraduate
and graduate students of art education, landscape architecture, and civil and
environmental engineering programs (Guyotte et al., 2014, p. 14). These students were
given two design challenges given the problem of sociotechnical complexities of waste
and water sustainability and were expected to collaborate in order to create a presentation
of their concepts and process of the solution to the problem (Guyotte et al., 2014, p. 15).
The challenges that these students were given had motivated them to utilize creative
thinking skills and arts-based inquiry methods such as, “…observing, recognizing
patterns, empathizing, playing and synthesizing.” (Guyotte et al., 2014, p. 14-15). One of
the engineering students reflected on the challenge as a beneficial experience because it
“…helped her develop a deeper understanding- not only of other disciplines, but also of
her own” (Guyotte et al., 2014, p. 17). The instructors saw the STEAM framework
emerge throughout this process in three stages, consisting of: “Thinking Through
Materials, Considering Audience, and Engaging with Community” (Guyotte et al., 2014,
p. 17).
Disciplinary-based Understanding
Furthering this discussion in another qualitative account, Guyotte, Kellam,
Constantino, and Sochaka (2015) shared a collection of narratives from art education
students’ experiences with “disciplinary-based understandings of creative thinking” in the
aforementioned Transdisciplinary Design Studio (p. 2). The authors used a visual-verbal
method of research in order to collect findings on the students’ experiences and
perceptions of creativity via visual journals, focus groups, and a reflective paper (Guyotte
et al., 2015, p. 3, 9). The purpose of this study was to determine co-equal benefits for
STEM students as well as the Arts students when utilizing a STEAM curriculum
(Guyotte et al., 2015, p. 6). Some of the questions that the students were asked include:
“What are the most significant things you learned? How has this knowledge affected the
manner in which you perceive or approach problems? How do you envision applying this
knowledge to future experiences in your profession?” (Guyotte et al., 2015, p. 13). This
study shows that there was a prominent theme regarding the battle of process versus
product, because our education systems create a mentality of completion for the grade as
opposed to focusing on the process of achieving the product. One of the participants
stated that she, “…observed, firsthand, how people from different disciplines can interact
together and solve problems…” (Guyotte et al., 2015, p. 28). The authors termed this
trend as collaborative or distributed creativity, “… where the goal was the generation of a
shared, yet unpredictable creative product” (Guyotte et al., 2015, p. 29). Reflections
from the interdisciplinary groups of students determined that creativity was a common
language in which the students were able to utilize and collaborate across disciplines
(Guyotte et al., 2015, p. 30). Overall, Guyotte et al. (2015) claimed that these student
experiences demand a reexamination of pedagogy “…in order to thoughtfully orchestrate
collaborative and creative learning” (Guyotte et al., 2015, p. 31).
Transdisciplinary Enrichment: Creative Problem Solving
Liao (2016) was also interested in how STEAM enriches transdisciplinary
thinking and how the arts play a role in transdisciplinary curriculum (p. 44). She made
the argument that arts integration practices are diverse and the arts, “…offer an important
way to cultivate creativity” (Liao, 2016, p. 44-45). In order for educators to formulate a
transdisciplinary space, the art and design educators need to collaborate with the STEM
educators and determine how their students can learn via creative problem solving (Liao,
2016, p. 45). Liao (2016) warned that there could be confusion between the
implementation of arts-integration and STEAM; she explained that arts-integration is
often misconceived as an enhancement to learning instead of an equally important subject
(p. 45; Berk, 2016, p. 16). A true STEAM curriculum views art as a vehicle for learning
and the center of its approach is creative problem solving through creation and
production (Liao, 2016, p. 45-46). She clarified that a transdisciplinary transformation
requires a focus on process and skills instead of the end product, a growth of
collaborative skills, and nourishment of students’ abilities and transferrable skills (Liao,
2016, p. 46-48). According to Liao (2016), transdisciplinarity is essential for solving
global problems with innovative solutions (p. 48). She outlines three ways to determine
transdisciplinarity: connection to real-world settings, the ability to explain implications of
projects, and the ability to apply knowledge and skills in new areas (Liao, 2016, p. 48).
Integrated Thinking
Muir Woods Project
Integrated education grants students with an opportunity to, “…see natural
connections between typically discrete subjects, and it has the potential to increase
student interest and achievement in all related subject areas” (Moreno, Tharp, Vogt,
Newell, and Burnett, 2016, p. 889). Marshall (2016) provided a school-age illustration of
integrated thinking through the example of a 3rd-grade Muir Woods Project in a charter
school in California (p. 13). The project consisted of students taking a field trip to the
national park after studying ecology and Muir Woods history; the students were required
to do individual explorations on the field trip using field study visual journals (Marshall,
2016, p. 13). Students had, “…constructed, accumulated, and recorded their learning over
time” by juxtaposing visual imagery with written explanations, observations, and
reflections in their journals (Marshall, 2016, p. 15). This type of project is an example of
a unique type of arts integration in which arts-based inquiry triggers the integration that
occurs via “…methods, tools, and thinking from various disciplines- such as observation,
critical analysis, synthesis, questioning, connecting and reflection” (Marshall, 2016, p.
16).
The Muir Woods Project exemplifies arts-based inquiry as it allowed students to
visualize their ideas from a different perspective and forced them to combine analytical
with nonlinear thinking (Marshall, 2016, p. 16-17). According to Marshall (2016), this
type of integrated thinking fosters “poietic logic” in which learners understand how
varying elements of academia fit together and connect to the real world (p. 18). She
defines poietic logic as, “…a distinctive kind of thought that mingles analytical, logical,
and linear reasoning with nonlinear and associative thinking” (Marshall, 2016, p. 17).
Marshall (2016) reminded us that although studies have found a correlation between the
arts and high academic achievement, causation has not been identified and for that
reason, the Arts must demonstrate cross-disciplinary ideas that “…enhance academic
knowledge and build cognitive skills” (p. 18). She suggests that art should act as an
adhesive and a catalyst for curriculum (Marshall, 2016, p. 18).
Barnes Foundation Elementary Program
Glass and Wilson (2016) summarized a program that used art as a foundation and
catalyst for an integrated approach. The staff at the Barnes Foundation, a visual art
gallery in Philadelphia, felt that it would be beneficial to use science and math in
congruence with their art collection in order to teach problem solving using creative and
critical thinking (Glass & Wilson, 2016, p. 8). Over the course of their STEAM curricular
design, the education staff found that their focus shifted from integration of content areas
to the practices of math and sciences (Glass & Wilson, 2016, p. 8). This particular
outreach STEAM program was offered to 5th and 6th grade students in Philadelphia and
consisted of guided tours of the gallery and hands-on activities (Glass & Wilson, 2016, p.
10). Studies have found that students rarely use math and science vocabulary when
discussing artwork (Glass & Wilson, 2016, p. 10). In this curriculum the educators used
the artwork to teach concepts such as light vs. shadow, color and light physics, geometric
shapes, and coordinate planes (Glass & Wilson, 2016, p. 10).
STEAM Teaching Practices
Glass and Wilson (2016) caution art educators to steer away from trying to teach
STEM disciplines in which they may have limited content knowledge or pedagogy (p.
10). They suggest that art educators collaborate with content area specialists to further
delve into the math and sciences integrated in the lessons and find similarities in habits
and processes between the National Core Arts Standards and STEM Common Core
standards (p. 10). Additionally, authors Bequette and Bequette (2012) stated that a
STEAM framework runs the risk of constructing a curriculum that does not truly
integrate and discuss multiple disciplines, but instead creates a disservice to the students
involved and a disservice to the discipline itself (p. 46). They also advise art teachers to
offer problem-based lessons and to reach out to STEM teachers using a language of
functional design, and base projects on engineering topics and 21st century skills
(Bequette & Bequette, 2012, p. 46).
Berk (2016) asserts that future STEAM models should emphasize teaching habits
and skills instead of a conglomerate of knowledge, because that is how students will be
able to, “…solve complex, system-level problems that cross disciplinary boundaries” (p.
16). Glass and Wilson (2016) recommend that educators transition to STEAM practices
slowly by focusing on big ideas, fundamental concepts, practices, and habits of mind that
connect the arts with the sciences (p. 10). Their STEAM design principles include:
ground everything in the artwork, create discovery-oriented projects, and implement
‘looking’ strategies for making evidence-based inferences (Glass & Wilson, 2016, p. 11).
Clapp and Jimenez (2016) echo the importance of true incorporation of the arts in
STEAM by stating that it is imperative to be intentional about using arts-based concepts
and practices and utilizing maker-centered learning experiences (p. 489).
Inquiry-based Learning
Several of the STEAM literature reiterated common themes of problem solving,

inquiry-based thinking, collaboration, and incorporation of student choice as key
elements to a STEAM based curriculum. Sharapan (2012) claimed that STEAM should
be about, “…facilitating inquiry-based thinking and discovery” instead of facts (p. 37).
According to research, inquiry-based learning increases students’ content knowledge in
science, students are able to transfer knowledge, and it promotes success in math and
engineering (Keane & Keane, 2016, p. 62; Grinnell & Angal, 2016, p. 54; Quiggley &
Herro, 2016, p. 412; Ghanbari, 2015, p. 3). Another study found that art coursework that
was combined with an engineering program allowed the engineering students to
capitalize on inquiry-based thinking (Ghabari, 2015, p. 3). Ghanbari (2015) stated that,
“Artistic inquiry promotes rigor and creativity while also enabling an instructor to teach
in multiple ways which in turn creates …a higher probability of retaining knowledge” (p.
5). Liao (2016) states that one of the signs of transdisciplinary learning is the students’
ability to apply knowledge or skills in new areas (p. 45).
Problem Solving Practices
In addition to inquiry-based learning, STEAM is also founded on problem
solving. According to Glass and Wilson (2016), “Many STEAM programs are designed
around Project Based Learning (PBL), which features student choice in creatively and
collaborative solving relevant problems…” p. 10). Quiggley and Herro (2016) state that
active, investigative thinking requires problem solving, creativity, and innovation (p.
413). They define transdisciplinary teaching as starting with a problem that needs to be
solved and going, “beyond the disciplines” to promote finding different solutions
(Quiggley & Herro, 2016, p. 412). The inclusion of the arts, design, and humanities is
intended to create a balance in the curriculum, “…to promote students to solve the
world’s pressing issues through innovation, creativity, critical thinking, effective
communication, collaboration, and ultimately new knowledge” (Quiggley & Herro, 2016,
p. 410). Liao (2016) emphasizes that creative problem solving through creation and
production needs to be the center of a STEAM approach (p. 46).
Collaboration
Grinnell and Angal (2016) attest that adding the ‘A’ to STEM gives students an
opportunity to work effectively together (p. 54). In one elementary STEAM unit, Shorter
and Segers (2016) witnessed students working together in groups with their art teacher
and collaboration occurring amongst the students and the experts (p. 43). Keane and
Keane (2016) confirmed similar observations in elementary and middle school STEAM
workshops in which students collaborated in order to brainstorm and revise proposals for
their designs (p. 65-8). One of the emergent themes of a qualitative research on STEAM
practices was collaborative learning (Ghanbari, 2015, p. 10). Research findings show that
STEAM practices provide students with dynamic, interactive learning experiences
(Keane & Keane, 2016, p. 62). STEAM curriculum should promote collaborative
learning via conversation and constructive criticism amongst peers in order to come to a
solution as a team (Ghanbari, 2015, p. 10). STEAM should be integrated into pedagogical
practices by focusing on processes and skills and the growth of collaborative skills
instead of the end product (Liao, 2016, p. 46).
Student Choice
Lastly, true STEAM practices incorporate student choice in order to make the
content relevant for the students (Quiggley & Herro, 2016, p. 417; Sharapan, 2012, p.
38). In addition to relevance, choice makes the learning more meaningful for students,
they are able to enjoy learning with engaging classes, become excited about their
coursework, and feel a sense of ownership (Ghanbari, 2015, p. 10; Shorter & Segers,
2016, p. 43). Student choice provides students options in applying their knowledge or
information learned even though the same material was covered with all students
(Quiggley & Herro, 2016, p. 419). Shorter and Segers (2016) state that STEAM and PBL
engage and motivate students because it allows them to create a real product which
piques their interest throughout the process (p. 46). STEAM adds, “…a creative value-
driven edge to STEM” that connects imaginations with a real purpose, transforms
disciplinary-based instruction to transdisciplinary practices, develops student abilities and
captures student interests (Keane & Keane, 2016, p. 62).

Chapter 3
Curriculum Plan
This section includes the documentation for the STEAM curriculum plan. The
curriculum plan begins with a semester-at-a-glance that outlines the overall foundation of
the units. The National Visual Art standards are placed next to the STEM standards in a
chart in order to give a visual of how the two selected disciplines connect and converge to
formulate the essential questions. Each standard is labeled and described to show the
importance of utilizing curricular standards from more than one discipline to create a true
STEAM curriculum. Following the overarching semester-at-a-glance are the learning
maps, K-U-D (Know-Understand-Do) charts and unit plans.
Each of the five unit plans were designed backwards by building upon the skills
and concepts that are to be demonstrated by the students. Backwards design is a
curriculum process in which the summative assessments are determined prior to the unit
and lesson plan details (Auger & Rich, 2007, p. 146). The concept of backwards design
originates from Wiggins and McTighe, who suggest that effective curriculum planning
requires educators to begin with the end or final destination in mind (Auger & Rich,
2007, p. 146). The three stages of planning that are recommended by Wiggins and
McTighe are: “1. What is worthy of understanding? 2. What is evidence of
understanding? 3. What experiences will promote understanding and interest? “ (Auger &
Rich, 2007, p. 146).
The learning map and K-U-D chart precede each unit plan in order to demonstrate
the importance of the big understanding that serves as a foundation for each unit. The
‘Know’ goals are to contain factual knowledge such as vocabulary definitions, names, or
dates (Hempfield School District, 2010, p. 30). The ‘Understand’ goals are to show a
relationship between concepts or answer “why?” or “how?” (Hempfield School District,
2010, p. 30). Finally, the ‘Do’ goals are to be transferrable skills that apply to other
contexts or disciplines and represent authentic practices of a particular field or discipline
of study (Hempfield School District, 2010, p. 30). Formulating K-U-D charts prior to
constructing unit plans enforces backwards design by eliciting the educational intentions
for the overall unit. What basic information do the students need to know in order to fully
comprehend or understand the concepts being taught? What concepts do the students
need to fully comprehend before they can complete complex tasks such as analyzing,
creating, or producing? Essentially, the purpose of the K-U-D charts is to initiate the
process of backwards design.
Ensuing the student learning maps and K-U-D charts are the unit plans. Each unit
plan reiterates the standards, essential questions, and instructional objectives. Also
included in the plans are a list of the learning activities and technology integrations that
contribute to the instructional objectives. The learning activities also list the suggested
anticipatory set, guided practice, teacher modeling, modifications or accommodations,
and resources. Each unit ends with a rubric to be utilized for any discussion posts and an
analytical rubric for a summative assessment of the end product. Each component within
the unit plan is intended to be a procedure or activity that leads to the predetermined
objectives and assessments.
Practical Solution
Each of these components that build upon each other to frame a STEAM
curriculum plan are a practical resource for secondary educators. Instead of the traditional
lesson plans that are designed for solitary secondary courses, these unit plans are based
upon two or more disciplines’ standards, concepts, and skills. These foundational
standards and concepts are intended for secondary STEM and art educators to initiate
collaboration amongst each other for further planning and implementation of STEAM
teaching practices. By implementing these plans, secondary educators will be able to
foster creative and critical thinking, demonstrate the importance of collaboration, and
advocate for the value of art and design within education.
At the secondary level it is difficult for educators to find the time and resources to
collaborate; it is especially difficult for educators from differing content areas to
collaborate. The components of the STEAM curriculum plan alleviate part of this
problem by providing the basis with which to implement interdisciplinary units.
Educators may choose to co-teach or parallel teach these outlined units. With cohesive art
and STEM standards and objectives, educators can share resources and offer their content
knowledge and pedagogy to one another that builds upon these objectives. Moreover,
students will be able to model the collaboration that occurs between their educators.
Overall, the STEAM curriculum plan should eliminate lesson plans that gloss over
important skills and concepts in cross-curricular projects, and replace them with projects
that provide deeper understanding of two or more disciplines and showcase the value and
integration of arts in education.
Curriculum Application
Due to the progressive nature of STEAM education, educators cannot simply
undergo a complete overhaul of their existing curriculum or teaching practices and
strategies. To maintain the integrity of a true interdisciplinary curriculum, educators need

to make small changes. All secondary educators can utilize the pieces of the STEAM
curriculum plan as a means for experimenting with interdisciplinary projects. This may
involve selecting one of the unit plans to utilize for a semester long course. Educators
may decide to implement one or two STEAM units from the curriculum plan as a
preliminary phase to a full adoption of a STEAM curriculum.
The curriculum plan can also be used as a means for initiating collaboration
amongst the educators of the math and sciences with the arts and humanities. It would be
extremely time-consuming to search and compare standards from various disciplines and
plan lessons with another educator. The similarities amongst the logic driven courses and
the arts are not always apparent. By starting with the aligned standards and objectives,
educators from various STEAM disciplines have a starting place for coproducing lesson
plans or simply sharing resources from each other’s curriculum. If schedules and class
size permits, educators may choose to use the curriculum to co-teach a unit. Each
educator uses their expertise in their content area to share information, initiate class
discussions, and model skills or practices for the students.
There are various options for educators to teach the skills and concepts that are
listed in the learning maps and K-U-D charts. The curriculum plan does not need to be
used in its entirety, but the learning maps and K-U-D charts should lay the groundwork
for a backward design. The unit plans should be a foundation for building individual
lesson plans that meet the school’s specifications for curriculum. Each educator can
revise or augment the outlined learning activities to meet their students’ needs. It is not
intended to be a stringent plan, but rather a tool for implementing STEAM teaching
practices. The learning objectives and essential questions may spark ideas for peer
collaboration or technology integration that is not included in the unit plan.
Semester-at-a-glance
UNIT APPROX. ESSENTIAL NATIONAL CROSS-

WEEKS QUESTIONS VISUAL ART CURRICULAR
STANDARDS STANDARDS
Conservation 4 weeks How do VA.CR.1.1.HSIII: Environment
Art consumer Visualize and and Ecology
Creations demands affect hypothesize to Standards:
the use of natural generate plans for 4.3.10A
resources? ideas and directions Evaluate factors
for creating art and affecting the use
How can we design that can of natural
prevent, control, affect social change. resources.
or reduce waste
in our VA.CR.1.2.HSII: 4.5.10A
environment? Choose from a Explain how
range of materials public policy
What materials and methods of encourages or
and methods of traditional and discourages the
artistic practices contemporary sustainable use
can be used in artistic practices to of natural
order to create plan works of art resources.
art and design and design.
that affects social 4.5.10D
change? VA.RE.7.1.HSII: Evaluate various
Recognize and methods of
describe personal managing waste
aesthetic and as related to
empathetic economic,
responses to the environmental,
natural world and and
constructed technological
environments. factors.
VA.PR.6.1.HSI:
Analyze and
describe impact that
an exhibition or
collection has on
personal awareness
of social, cultural,
or political beliefs
and understandings.
iPad Logo 3 weeks How are the VaCr1.1.HS1: Use Technology and
Designs elements of art multiple approaches Engineering
and principles of to begin creative Standards:
design used to endeavors 3.4.10.A2
convey meaning Interpret how
in graphic VA.RE.7.2.HSII: systems thinking
design? Evaluate the applies logic and
How do artists effectiveness of an creativity with
and designers image or images to appropriate
create works of influence ideas, comprises in
design that feelings, and complex real-life
effectively behaviors of problems.
communicate? specific audiences.
How can we use 3.4.10.C1
technology to VA.RE.9.1.HSI: Apply the
create an original Establish relevant components of
logo design for a criteria in order to the technology
company? evaluate a work of design process.
art or collection of
works. 3.3.10.C2
Analyze a
prototype and/or
create a model to
test a design
concept by
making actual
observations and
necessary
adjustments
Architectural 3.5 weeks How do form VA.CR.2.1.HSII: Technology and
Sculptures and function Through Engineering
work together experimentation, Standards:
when designing practice, and 3.4.10.C1
architecture? persistence, Recognize that
How are spatial demonstrate technological
relationships acquisition of skills development has
used to draw, and knowledge in a been
construct, and chosen art form. evolutionary, the
model real result of a series
situations or VA.CR.3.1.HSII: of refinements to
solve problems? Engage in a basic
How does constructive critique invention.
constructive with peers, then
criticism and reflect on, re- 3.4.10.C2

experimentation engage, revise, and Analyze a
impact your refine works of art prototype and/or
revision and and design in create a working
refinement of response to personal model to test a
your work? artistic vision. design concept
How has by making actual
architecture observations and
evolved over necessary
time? adjustments.
How can we use
existing 3.4.10.E7
architectural Evaluate
elements to structure design
design an as related to
original function,
architectural considering such
structure? factors as style,
convenience,
safety, and
efficiency.
3.4.10.D1
Refine a design
by using
prototypes and
modeling to
ensure quality,
efficiency, and
productivity of a
final product.
Fibonacci 3.5 weeks What types of VA.RE.7.2.HSI: Math Common

Object patterns or Analyze how one’s Core
Drawings relationships are understanding of Standards:
represented the world is affected CC.2.2.HS.C.1
mathematically by experiencing Use the concept
in nature? visual imagery. and notation of
How can we functions to
determine the VA.CN.10.1.HSII: interpret and
golden ratio and Utilize inquiry apply them in
what is its use in methods of terms of their
art? observation, context.
How can research, and
recognition of experimentation to CC.2.2.HS.C.2
pattern assist explore unfamiliar Write functions
artists in their subjects through art or sequences that

observation and making. model
interpretations of relationships
visual imagery? VA.CR.1.2.HSI: between two
Shape artistic quantities.
investigations of an
aspect of present- A2.2.1.1.1
day life using a Analyze a set of
contemporary data for the
practice of art or existence of a
design. pattern and
represent the
pattern with a
rule
algebraically
and/or
graphically.
Islamic Tile 4 weeks How has the VaCr1.1.HS1: Use Math Common
Design Islamic culture multiple approaches Core
and traditions to begin creative Standards:
influenced their endeavors G.CO.12: Make
art and formal geometric
architecture? VaCr3.1.HS1: constructions
Apply relevant with a variety of
How can we use criteria from tools and
geometry to traditional and methods
create a complex, contemporary
symmetrical cultural contexts to G.CO.13:
design? examine, reflect on, Construct an
and plan revisions equilateral
How can we for works of art and triangle, square,
apply design in progress and regular
characteristics hexagon
from Islamic art VaCn11.1.HS1: inscribed in a
and culture to Describe how circle
create an original knowledge of American
tile design? culture, traditions, Council of the
and history may Teaching of
influence personal Foreign
responses to art Languages
(ACTFL)
Standards:
2.1: Practices of
Culture
Students
demonstrate an
understanding of
the relationship
between the
practices and
perspectives of
the culture
studied.
2.2: Products of
Culture
Students
demonstrate an
understanding of
the relationship
between the
products and
perspectives of
the culture
studied.
Student Learning Maps, K-U-D Charts, and Unit Plans
Unit: Conservation and Art
Key Learning
Students will learn about the factors that influence use of natural resources and
determine whether our current public policy encourages or discourages sustainability.
Students will collaborate to brainstorm and strategize means of conserving natural
resources. They will learn about a group of artists, designers, and architects who use
their work to create awareness of environmental problems. Students will work in pairs
to hypothesize and generate plans for a collaborative piece intended to play a role in
solving an environmental problems.
Unit Essential Question

How can artists play a role in solving environmental problems in our society?
Concept Concept Concept

Students will be able to Students will be able to Students will be able to
describe the effects of recognize personal interpret and analyze the
consumer demands on responses to conservation. impact of the work of
natural resources. Students will be able to artists, designers, and
Students will be able to hypothesize and generate architects who create
explain how public policy plans for preventing, awareness for social
influences sustainability. controlling, or reducing change.
waste in our environment. Students will be able to
choose materials and
artistic processes that will
elicit aesthetic and
empathetic responses to
environment issues.
Standards: Standards: Standards:
Environment and Ecology Environment and Ecology Environment and Ecology
4.3.10A 4.5.10A 4.5.10D
National Visual Art National Visual Art
VA.RE.7.1.HSII VA.CR.1.2.HSII
VA.CR.1.1.HSIII VA.PR.6.1.HSI
Lesson Essential Lesson Essential Lesson Essential

Question Question Question
How do consumer How can we prevent, What materials and
demands affect the use of control, or reduce waste in methods of artistic
natural resources? our environment? practices can be used in
order to create art and
design that affects social
change?
Vocabulary Vocabulary Vocabulary

Consumerism Conservation Found objects
Natural Resources Sustainability Social change
Waste management Stewardship
Aurora Robson
KNOW UNDERSTAND DO
What do students need to What do students need to What do students need to be able to do by
know in order to be able to deeply understand? What is the end of the unit?
do and understand? the big idea?
• Conservation • How consumer • Collaborate in order to
• Sustainability demands affect hypothesize and generate plans for
• Natural resources natural resources preventing, controlling, or
• Social change • How public policy reducing waste in the environment
• Stewardship influences • Interpret and analyze the impact
• Public policies on sustainability of artists, designers, and architects
conservation efforts • Recognize their who create awareness for social
• Found object personal responses change via their artistic processes
to the concept of and products
artwork conservation • Choose materials and artistic

• Artist- Aurora • The importance of processes that will elicit aesthetic
Robson collaboration in and empathetic responses to
problem solving environmental issues
• How artists and • Create a piece of art that brings
designers can create awareness to environmental
awareness and/or problems in our society
play a role in
solving
environmental
problems
Unit: Conservation Art Grade Level: 9-12
UEQ: How can artists play a role in solving environmental problems in our society?
LEQ: How do consumer demands affect the use of natural resources?

LEQ: How can we prevent, control, or reduce waste in our environment?
LEQ: What materials and methods of artistic practices can be used in order to create art
and design that affects social change?
Lesson Description: Students will learn about the topic of conservation and
sustainability of natural resources. Each student will be encouraged to form an opinion on
the topic. They will look into public policies on conservation efforts and determine
whether it encourages sustainability. They will work collaboratively to determine factors
that contribute to the use of natural resources. Students will then be introduced to an artist
named Aurora Robson who is a part of a larger artist foundation- Project Vortex. They
will interpret and analyze how these artists have contributed to solving environmental
problems in our society. The final project entails each student brainstorming, designing,
and revising an artistic creation that elicits a response to conservation.
PA Academic Standards:
9.1.9B
Recognize, know, use and demonstrate a variety of appropriate art elements and
principles to produce, review, and revise original works in the arts
9.1.9D
Communicate a unifying theme or point of view through the production of works in the
arts
9.2.9 L
Identify, explain, and analyze common themes, forms and techniques from works in the
arts
9.3.9 G
Compare and contrast critical positions or opinions about selected works in the arts and
humanities
9.4.12B
Describe and analyze the effects that works in the arts have on groups, individuals and
their culture
National Core Arts Standards:
VA.CR.1.1.HSIII
Visualize and hypothesize to generate plans for ideas and directions for creating art and
design that can affect social change.
VA.CR.1.2.HSII
Choose from a range of materials and methods of traditional and contemporary artistic
practices to plan works of art and design.
VA.RE.7.1.HSII
Recognize and describe personal aesthetic and empathetic responses to the natural world
and constructed environments.
VA.PR.6.1.HSI
Analyze and describe impact that an exhibition or collection has on personal awareness
of social, cultural, or political beliefs and understandings.
Environment and Ecology State Standards:

4.3.10A
Evaluate factors affecting the use of natural resources.
4.5.10A
Explain how public policy encourages or discourages the sustainable use of natural
resources.
4.5.10D
Evaluate various methods of managing waste as related to economic, environmental, and
technological factors.
Instructional Objectives:
• Students will be able to describe the effects of consumer demands on natural
resources
• Students will be able to explain how public policy influences sustainability
• Students will be able to recognize personal responses to conservation
• Students will be able to hypothesize and generate plans for preventing,
controlling, or reducing waste in the environment
• Students will be able to interpret and analyze the impact of the work of artists,
designers, and architects who create awareness for social change
• Students will be able to choose materials and artistic processes that will elicit
aesthetic and empathetic responses to environment issues
Set Up:
• Post Aurora Robson website and video links for student access
• Post website links to PA public policies and environmental organizations for
student access
• LEQs and Word Wall
• Create online discussion post prompts
• Gather cutting and gluing tools (box cutters, Xactos, scissors, glue guns, rubber
cement, etc.)
Learning Activities:
1. Defining and describing conservation- what do you know about it? What is your
opinion or perspective on the use of natural resources?
2. Research conservation, sustainability, and public policies. Create a Google doc
for notes and reflections on findings.
3. Watch Aurora Robson TedTalk video and add notes and reflections to Google
doc.
4. Investigate Project Vortex artists and their work. Participate in online discussion
post sharing one artist and their concept and process of working. Analyze how the
artist has created awareness for social change. Comment on two peers’ posts with
personal reflections and comparison to other artists’ work.
5. Collaborate in groups to brainstorm and generate ideas for reducing or preventing
waste.
6. Whole group discussion on collaboration results.
7. Investigate Pennsylvania environmental organizations, brainstorm concepts for
raising awareness for environmental problem, and create preliminary sketches for
an artistic creation that reflects the chosen problem.
8. Select materials and/or processes that bring attention to the environmental
problem. Post preliminary sketches and describe plan on the online discussion for
peer feedback.
9. Design or create a final piece of art that elicits a response and brings awareness to
an environmental problem.
Interdisciplinary Connections
• Science: Ecology and environment
Technology Integration
• TedTalk video
• Project Vortex website
• Artist and conservation research notes kept on Google docs
• Presentation about natural resources and public policy using technology
(KeyNote, video, graphic organizer, etc.)
• Online discussion posts
Anticipatory Set
• Aurora Robson TedTalk video
• Independent research on conservation, sustainability, and public policies
• Collaborate with peers to hypothesize and generate plans for reducing
waste
Modeling
• How to provide meaningful responses to peers in a discussion post
• How to find and cite academic sources
• How to carefully and intentionally select materials/media and techniques

or processes that relate to project concept
Guided Practice
• Preliminary sketches for the final project
Formative Assessments
• Whole class discussion- how can we prevent or reduce waste?
• Google docs notes and reflections
• Online discussion posts
o Sharing artists’ work about conservation
o Progress critique on art project
Modifications and Accommodations:

• Teacher reads aloud for student or student opts to utilize voice over on the
iPad
• Option to orally submit any written responses
• Narrow down materials for student to select from 2 or 3 options
• One-on-one assistance with construction of project if necessary
Resources:
• Artist website- http://www.aurorarobson.com/cv--bio.html
• Project vortex website- http://www.projectvortex.org/about.html
• iPads
• apps- Google docs, KeyNote, etc.
• tools necessary for cutting and gluing materials
• PA public policies-
https://ballotpedia.org/Environmental_policy_in_Pennsylvania
http://conservationadvocate.org/conservation-and-preservation-easements-
act/
• PA environmental organizations-
http://www.eco-usa.net/orgs/pa.shtml
• National Geographic video “Why the ocean matters”
http://video.nationalgeographic.com/video/why-ocean-matters
• Artists who are making art about conservation
http://www.huffingtonpost.com/2014/07/15/environmental-
art_n_5585288.html
Summative Assessment:
Discussion Rubric
Criteria 7-10 points 4-6 points 0-3 points
Excellent Work Average Work Needs

Improvement
Detail The original post is The original post is The original post is
5+ descriptive 3-4 sentences that not descriptive and
sentences that accurately respond does not respond to
accurately respond to each piece of the each piece of the
to each piece of the prompt. prompt.
prompt.
Grammar The post and There are 1-2 There are several
response comments grammatical errors. grammatical errors.
are grammatically
correct.
Responses There are two There are two Only one response
responses to two responses to two was posted, or the
different peers that different peers that two responses were
further the somewhat further not meaningful
conversation with the conversation, contributions.
thoughtful questions but could be more
or meaningful meaningful.
contributions.
Citations Outside sources are Outside sources are Outside sources
accurately cited cited, but not using were not cited.
using MLA style. correct MLA style.
Project Rubric
Excellent Work Average Work Needs Improvement
Aesthetics The overall piece The overall piece The overall piece
utilizes the elements somewhat utilizes the does not utilize the
and principles of art elements and elements and
to create an principles of art in the principles of art in the
aesthetically pleasing aesthetic appearance. aesthetic appearance.
appearance.
Techniques/Processes The piece utilized The piece somewhat The piece did not
techniques and/or utilized techniques or utilize techniques or
processes that bring processes that bring processes that bring
attention to attention to attention to
environmental issues. environmental issues. environmental issues.
Concept The concept of the The concept of the There is not an
piece elicits a strong piece somewhat apparent concept
empathetic response elicits an empathetic involving
to environmental response to environmental issues.
issues. environmental issues.
Creativity The concept, The concept, The concept,
materials, and materials, or materials, and
processes involved processes involved processes were simple

creative and original some creative and unoriginal.
thinking. thinking.
Craftsmanship The overall piece The overall piece The overall piece is in
demonstrates great demonstrates some need of attention to
attention to detail and attention to detail and detail and neatness.
neatness. neatness.
Reflection summary The summary has The summary has The summary is not
four detailed three, moderately descriptive or all
paragraphs that detailed paragraphs encompassing of the
reflect on the that reflect on some interdisciplinary
interdisciplinary of the processes, techniques,
processes, techniques, interdisciplinary and/or skills that were
and/or skills that were processes, techniques, utilized throughout
utilized throughout and/or skills that were the project.
the project. utilized throughout
the project.
Improvement
Aesthetics The overall piece The overall piece The overall piece
utilizes the elements somewhat utilizes does not utilize the
and principles of art the elements and elements and
to create an principles of art in principles of art in
aesthetically pleasing the aesthetic the aesthetic
appearance. appearance. appearance.
Techniques/Proce The piece utilized The piece The piece did not
sses techniques and/or somewhat utilized utilize techniques or
processes that bring techniques or processes that bring
attention to processes that bring attention to
environmental issues. attention to environmental
environmental issues.
issues.
Concept The concept of the The concept of the There is not an
piece elicits a strong piece somewhat apparent concept
empathetic response elicits an involving
to environmental empathetic environmental
issues. response to issues.
environmental
issues.
Creativity The concept, The concept, The concept,
materials, and materials, or materials, and
processes involved processes involved processes were
creative and original some creative simple and
thinking. thinking. unoriginal.
Craftsmanship The overall piece The overall piece The overall piece is
demonstrates great demonstrates some in need of attention

attention to detail and attention to detail to detail and
neatness. and neatness. neatness.
Reflection The summary has The summary has The summary is not
summary four detailed three, moderately descriptive or all
interdisciplinary of the processes,
processes, interdisciplinary techniques, and/or
techniques, and/or processes, skills that were
skills that were techniques, and/or utilized throughout
utilized throughout skills that were the project.
the project.
Unit: Logo Designs
Key Learning
Students will be exposed to various brand logos in order to identify the elements and
principles of design that are utilized and analyze how designers convey meaning and
communicate messages using visual imagery. Each student will need to brainstorm and
generate a company with a specific service or product for which they will create a
brand identity with their own original logo design. Students will experiment with
combinations of typefaces and color palettes, revise their prototypes, and create a final
logo design using technology.

How can an image influence ideas, feelings, or behaviors from specific audiences?

identify the elements and analyze the characteristics critique and revise their
principles of design that that artists and designers thumbnails and prototypes
are used in brand logos. use to create designs that by using their knowledge
Students will be able to effectively communicate a of the elements and
describe how the elements message. principles of design.
and principles are used in Students will be able to Students will be able to use
logos to convey meaning. brainstorm, visualize, and technology in order to
generate thumbnail create an original logo
sketches of various logo design that meets criteria
designs. for conveying meaning and
effectively communicating
a message.

Technology Technology Technology
3.4.10.C1 3.4.10.A2 3.3.10.C2
National Visual Art National Visual Art National Visual Art
VaCr1.1.HS1 VA.RE.9.1.HSI VA.RE.7.2.HSII

How are the elements of art How do artists and How can we use
and principles of design designers create works of technology to create an
used to convey meaning in design that effectively original logo design for a
graphic design? communicate? company?

Unity Visual literacy Brand identity
Emphasis Palette Graphic design
Color Color Theory Typography
Contrast Typeface
Thumbnail sketches
KNOW UNDERSTAND DO
• Elements and • How color theory • Analyze how other designers have
principles of art and and typeface created logos that effectively
design influence the communicate a message
• Visual literacy meaning and • Interpret how complex real-life
• Color theory message of a logo problems require both logic and
• Graphic design • The importance of creativity
• Typography unity, emphasis, • Brainstorm and generate
• Thumbnail sketches color, and contrast thumbnail sketches for logo
in designing a logo design ideas that use various
• How to formulate a typefaces and color palettes
brand identity using • Provide constructive criticism to
visual imagery their peers using a set of pre-
• Technology determined criteria
processes for • Apply technology design
designing a logo
The importance of
• processes to create the final logo
constructive design
criticism in the • Create an original logo design that
process of revising effectively communicates a
and refining an end message to its intended audience
product
Unit: Logo Designs Grade Level: 9-12
UEQ: How can an image influence ideas, feelings, or behaviors from specific audiences?
LEQ: How are the elements of art and principles of design used to convey meaning in
graphic design?
LEQ: How do artists and designers create works of design that effectively communicate?
LEQ: How can we use technology to create an original logo design for a company?
Lesson Description: Students will be exposed to various brand logos in order to identify
the elements and principles of design that are utilized and analyze how designers convey
meaning and communicate messages using visual imagery. Each student will need to
brainstorm and generate a company with a specific service or product for which they will
create a brand identity with their own original logo design. They will learn and apply
graphic design terminology and processes. Throughout the process, students will
experiment with combinations of typefaces and color palettes, revise their prototypes, and
create a final logo design using an iPad application.
9.1.9B
Recognize, know, use, and demonstrate a variety of appropriate arts elements and
9.1.9J
Incorporate specific uses of traditional and contemporary technologies within the design
for producing, performing, and exhibiting works in the arts
9.3.9A
Know and use the critical process of the examination of works in the arts and humanities
9.3.9B
Analyze and interpret specific characteristics of works in the arts within each art form
VaCr1.1.HS1
Use multiple approaches to begin creative endeavors
VA.RE.7.2.HSII
Evaluate the effectiveness of an image or images to influence ideas, feelings, and
behaviors of specific audiences.
VA.RE.9.1.HSI
Establish relevant criteria in order to evaluate a work of art or collection of works.
Technology and Engineering State Standards:
3.4.10.A2
Interpret how systems thinking applies logic and creativity with appropriate comprises in
complex real-life problems.
3.4.10.C1
Apply the components of the technology design process.
3.3.10.C2
Analyze a prototype and/or create a model to test a design concept by making actual
observations and necessary adjustments
• Students will be able to identify the elements and principles of design that are
used in brand logos.
• Students will be able to describe how the elements and principles are used in
logos to convey meaning.
• Students will be able to analyze the characteristics that artists and designers use to
create designs that effectively communicate a message.
• Students will be able to brainstorm, visualize, and generate thumbnail sketches of
various logo designs.
• Students will be able to critique and revise their thumbnails and prototypes by
using their knowledge of the elements and principles of design.
• Students will be able to use technology in order to create an original logo design
that meets criteria for conveying meaning and effectively communicating a
message.
Set Up:
• Have students download ‘Makr’ and ‘Assembly’ apps on their iPads
• Post links to resources and YouTube video for student access
1. Whole class discussion- What makes a good logo? Think-pair-share to create a
list and then share with the whole class.
2. Investigate various famous logo designs online. List common characteristics
throughout the designs.
3. Select two favorite logo designs. Analyze how the designer utilized the elements
and principles of art. Describe how the elements and principles convey meaning.
4. Brainstorm and generate an idea for an imaginary company with a specific service
or product and a specific audience.
5. Create a visual chart that defines and illustrates graphic design terminology.
6. Watch the logo design process YouTube video and summarize important steps to
the process.
7. Discuss brand identity, typography, and color palettes in graphic design.
8. Create a digital mood board of logo inspirations.
9. Brainstorm ideas and generate thumbnail sketches and illustrations of visual
imagery and typefaces for the company logo.
10. Participate in a progress critique with peers in order to revise and refine thumbnail
sketches.
11. Create various color palettes that would create unity in the logo design.
12. Create a final logo design that conveys a message for its intended audience using
the Makr or Assembly app on the iPad.
• Technology and Design
• Using an iPad application to create a final product
Anticipatory Set
• ‘What company is this?’ using Logo game cards
• Whole class discussion on what makes a good logo- create a T-chart of
good vs. bad logo elements
• Watch YouTube video of a designer explaining his logo process
Modeling
• Model good vs. bad typeface choices
• Model selection of color palette
• Demonstrate how to use the logo application on the iPad
Guided Practice
• Create thumbnail sketches and prototypes of logo designs that utilize
various typefaces, icons, and color palettes
• Thumbnails and prototypes- are they meeting criteria?

• Teacher reads aloud for student or student opts to utilize voice over on the
iPad
• One-on-one assistance with using the logo app if necessary
• Narrow down student options for typeface to 3 or 4
Resources:
• iPads
• Makr and Assembly apps
• Graphic design terminology
https://designschool.canva.com/blog/graphic-design-terms/
• iPad art room lesson plans
http://www.ipadartroom.com/shaping-symbols-constructing-logos-with-apps/
• Logo design galleries

http://logodesignerblog.com/top-best-10-logo-design-inspiration-galleries/
http://designspiration.net/search/saves/page/2/?q=logo
• Logo design process video
https://www.youtube.com/watch?v=dPpZxq0fJRo
• Psychology of color
http://www.sprucerd.com/blog/color-psychology/
• Logo design trends
https://www.entrepreneur.com/article/282773
Discussion Rubric
Improvement
prompt.
are grammatically
correct.
contributions.
Project Rubric
Image The selected logo The selected logo The selected logo
image does not image somewhat image effectively
communicate the communicates the communicates the
intended message. intended message. intended message.
Text The selected The selected The selected
typeface does not typeface somewhat typeface

communicate the communicates the complements the
intended message intended message. image, reads legibly,
and does not read and effectively
legibly. communicates the
intended message.
Color palette The chosen color The chosen color The chosen color
palette of the logo palette of the logo palette of the logo
does not create a somewhat creates a creates a sense of
sense of unity. sense of unity with unity with the image
the image and and typeface.
typeface.
Creativity The overall logo The overall logo The overall logo
design does not design somewhat design shows
show creative shows creative originality and
thinking. thinking. creative thinking.
Brand identity The overall logo The overall logo The overall logo
design elements do design elements design elements
not create a brand somewhat create a create a strong brand
identify for the brand identity for identity for the
company. the company. company.
Unit: Architectural Sculptures
Key Learning
Students will learn a brief overview of the history of architecture design in order to
understand how the structures have evolved over time. Students will learn about the
issues and problems that need to be solved when designing and constructing
architectural structures. Each student will research a variety of architectural styles in
order to brainstorm and generate prototypes of an original structure using technology.
Students will use peer collaboration and constructive criticism to revise and refine their
final product, which will be fabricated using student-selected materials.

What are necessary components for designing and constructing structurally sound and
aesthetically pleasing architectural structure?

identify and describe how utilize spatial relationships describe how architecture
form and function work in the designing and has evolved over time.
together in architectural constructing of their Students will be able to
design. architectural structures. apply architectural design
Students will be able to styles to create an original

apply constructive architectural structure.
criticism to their revision
and refinement of their
blueprints and prototypes.
Technology and Technology and Technology and
Engineering Engineering Engineering
3.4.10.E7 3.4.10.C2 3.4.10.C1
3.4.10.D1 National Visual Art
National Visual Art VA.CR.2.1.HSII
VA.CR.3.1.HSII

How do form and function How are spatial How has architecture
work together when relationships used to draw, evolved over time?
designing architecture? construct, and model real How can we use existing
situations or solve architectural styles to
problems? design an original
How does constructive architectural structure?
criticism and
experimentation impact
your revision and
refinement of your work?

Form Prototype Ancient Egypt
Space Maquette Classical
Function Fabricate Neoclassical
Architecture Efficiency Byzantine
Convenience Gothic
Renaissance
Baroque
Neoclassicism
Art Deco
Modernist
KNOW UNDERSTAND DO
• Architecture • The difference • Compare and contrast two
• Form between form and different architectural styles
• Space function in • Formulate architectural blueprint

• Function architecture drawings using graph paper and
• Prototype • How architectural drawing tools
• Maquette styles have evolved • Render a three-dimensional
• Fabricate over history prototype of blueprints using
• Efficiency • How spatial technology
• Convenience relationships are • Construct a maquette of the
• Architectural styles: used to draw, prototype
Ancient Egypt construct, and model • Analyze and refine prototype and
Classical real situations and maquette using factors such as
Neoclassical complex real-life style, convenience, and efficiency
Byzantine problems • Engage in constructive critique
Gothic • The importance of with peers in order to further
Renaissance experimentation and refine the design and personal
Baroque revision in creating artistic vision
Neoclassicism an efficient end • Fabricate an architectural structure
Art Deco product that utilizes stylistic features from
Modernist two or more architecture styles
Unit: Architecture Grade Level: 9-12

UEQ: What are necessary components for designing and constructing structurally sound
and aesthetically pleasing architectural structures?
LEQ: How do form and function work together when designing architecture?
LEQ: How are spatial relationships used to draw, construct, and model real situations or
solve problems?
LEQ: How does constructive criticism and experimentation impact your revision and
refinement of your work?
LEQ: How has architecture evolved over time?
LEQ: How can we use existing architectural styles to design an original architectural
structure?
Lesson Description: Students will learn a brief overview of the history of architecture
design in order to understand how the structures have evolved over time. Each student
will create his or her own digital timeline/overview of the history of architecture.
Students will learn about the issues and problems that need to be solved when designing
and constructing architectural structures. Each student will research a variety of
architectural styles in order to brainstorm and generate blueprints and prototypes of an
original structure using technology. Students will use peer collaboration and constructive
criticism to revise and refine their final product, which will be fabricated using student-
selected materials.
9.1.9B
Recognize, know, use and demonstrate a variety of appropriate arts elements and
9.1.9D
Demonstrate knowledge of at least two styles within each art form through performance
or exhibition of unique works
9.1.9H
Demonstrate and maintain materials, equipment, and tools safely at work and
performance spaces
9.2.9C
Relate works in the arts to varying styles and genre to the periods in which they were
created
9.3.9A
Know and use the critical process of the examination of works in the arts and humanities
VA.CR.2.1.HSII
Through experimentation, practice, and persistence, demonstrate acquisition of skills and
knowledge in a chosen art form.
VA.CR.3.1.HSII
Engage in constructive critique with peers, then reflect on, re-engage, revise, and refine
works of art and design in response to personal artistic vision.
Technology and Engineering State Standards:
3.4.10.C1
Recognize that technological development has been evolutionary, the result of a series of
refinements to a basic invention.
3.4.10.C2
Analyze a prototype and/or create a working model to test a design concept by making
actual observations and necessary adjustments.
3.4.10.E7
Evaluate structure design as related to function, considering such factors as style,
convenience, safety, and efficiency.
3.4.10.D1
Refine a design by using prototypes and modeling to ensure quality, efficiency, and
productivity of a final product.
• Students will be able to identify and describe how form and function work
together in architectural design
• Students will be able to utilize spatial relationships in the designing and
constructing of their architectural structures
• Students will be able to apply constructive criticism to their revision and
refinement of their blueprints and prototypes
• Students will be able to describe how architecture has evolved over time
• Students will be able to apply architectural design styles to create an original
architectural structure
Set Up:
• Download Virtual Tour app on iPads
• Download SketchUp software on desktops
• Word Wall and EQs
• Create online discussion prompts
• Collect pieces of scrap cardboard and mat board
• Post links to architecture websites for student access
1. Explore famous buildings using the Virtual Tour app
2. Create a digital timeline/overview of the evolution of architectural styles
3. Compare and contrast two different architecture styles
4. Research architectural structures from 2-3 specific styles for reference imagery
5. Discuss areas of concern and problems to be solved when designing architecture
6. Formulate blueprints of 4 different angles for an architectural structure based on
selected styles
7. Design 2-3 prototypes using SketchUp or another design software
8. Participate in an online progress critique discussion by analyzing the form and
function of peers’ designs
9. Construct a maquette of the revised design using cardboard and/or mat board
10. Create a final architectural structure using selected materials
• Technology
• Engineering
• Virtual Tour app on the iPad to see famous architectural buildings
• Creating a digital timeline of the history of architecture
• Researching architectural styles
• SketchUp software for formulating architectural plans
Anticipatory Set
• Presentation on brief architectural history
• Virtual Tour exploration of famous buildings
• Exploring Frank Lloyd Wright blueprints, buildings, and influences
Modeling
• Demonstrate how to create blueprints using spatial relationships
• Demonstrate how to use and navigate the SketchUp software
• Provide examples of form and function
• Model meaningful constructive criticism
• Demonstrate proper use of cutting tools
Guided Practice
• Blueprints on graph paper
• Prototypes on SketchUp
• Maquette of final product
• Blueprint drawings- check for spatial relationships, form and function
• Prototypes on SketchUp (or other chosen software)- check for originality
• Maquette- check for accurate measurements and application of
constructive criticism

• Teacher reads aloud for student or student opts to utilize voice over on the iPad
• Narrow down architectural style options to 3-4
• Modify assignment to require fewer blueprints and prototypes
• One-on-one assistance with technology and/or construction of product if
necessary
• Do not deduct points for mathematical errors
Resources:
• iPads and desktop computers
• https://www.thoughtco.com/teaching-and-learning-about-architecture-178436
• https://www.theartofed.com/2014/11/11/10-architectural-marvels-to-inspire-your-
teaching/
• Frank Lloyd Wright-
http://franklloydwright.org/illuminating-details-frank-lloyd-wrights-guggenheim-
blueprints/
• Virtual Tour app
• SketchUp software
• Graph paper, rulers, T-squares, protractors, compasses
• Cardboard and mat board for maquettes
• Box cutters, Xactos, cutting mats, glue guns and sticks
Discussion Rubric
Improvement

prompt.
are grammatically
correct.
contributions.
Project Rubric

Improvement
Prototypes and The prototypes and The prototypes and The prototypes and
Maquette maquette show maquette show maquette do not
strong evidence of some evidence of show evidence of
experimentation, experimentation, experimentation,
practice, and practice, and practice, and
acquisition of skills. aquistion of skills. acquisition of skills.
Style The final product The final product The final product
illustrates design or illustrates a design does not illustrate a
structural elements or structural element design or structural
from two or more from one element from an
architectural styles. architectural style. architectural style.
Creativity The overall product The overall product The overall product
shows a variety of shows some creative is simple or
creative choices in choices in form and unoriginal.
form and function. function.
Craftsmanship The overall product The overall product The overall product
is structurally has a few issues has several issues
sound, clean, and with the structure, with the structure,
measured to scale. neatness, or neatness, or
measurements. measurements.
Constructive The final product The final product The final product
criticism shows strong shows some does not show
evidence of revision evidence of revision evidence of revision
and refinement from and refinement from or refinement from
the original the original the original
blueprints. blueprints. blueprints.
the project.
Unit: Fibonacci Drawings
Key Learning
Students will be introduced to the Fibonacci sequence and will learn how to identify
and solve Fibonacci spirals. They will be introduced to traditional artists whose work
utilized the Fibonacci spiral in the composition choices. Students will also learn how
the Fibonacci sequence influenced artists’ knowledge of scale and proportions. Each
student will create a piece of art that renders an object from nature that illustrates the
Fibonacci spiral.

How do sequential patterns and ratios influence artistic choices?

Students will be able to Students will be able to use Students will be able to
identify and describe the concept of the Golden analyze the relationship
patterns and relationships spiral to determine the between art and
amongst objects in nature. Golden ratio. mathematical functions.
identify and solve the describe the use of the apply the function of the
function of the Fibonacci golden ratio in art and Fibonacci sequence to
sequence. design. create an original piece of
Students will be able to use art.
the function of the
Fibonacci sequence to
create a Golden spiral.

Math Common Core Math Common Core National Visual Art
A2.2.1.1.1 CC.2.2.HS.C.1 VA.RE.7.2.HSI
CC.2.2.HS.C.3 National Visual Art VA.CR.1.2.HSII
VA.CN.10.1.HSII

What types of patterns or How can we determine the How can recognition of
relationships are golden ratio and what is its pattern assist artists in their
represented mathematically use in art? observation and
in nature? interpretations of visual
imagery?
How does knowing the
contexts of histories and
traditions of art forms help
us to create works of art?

Pattern Golden ratio Divine Proportion
Fibonacci sequence Phi Leonardo da Vinci
Fibonacci spiral Circumference Composition
Scale Rule of thirds
KNOW UNDERSTAND DO
• Pattern • How the golden • Identify and describe patterns in
• Fibonacci sequence ratio is determined objects found in nature
• Fibonacci spiral • How the golden • Recognize the pattern in the
• Golden ratio ratio is utilized in art Fibonacci sequence
• Phi • The relationship • Formulate the golden spiral using
• Circumference between the the Fibonacci sequence
• Scale Fibonacci sequence • Identify the golden ratio or spiral
• Divine Proportion and artistic choices in famous paintings
• Leonardo da Vinci • The importance of • Utilize the Fibonacci sequence to
• Composition knowing the create an original piece of artwork
• Rule of thirds contexts of histories
and traditions of art
forms
Unit: Fibonacci Art Grade Level: 9-12
UEQ: How do sequential patterns and ratios influence artistic choices?
LEQ: What types of patterns or relationships are represented mathematically in nature?

LEQ: How can we determine the golden ratio and what is its use in art?
LEQ: How can recognition of pattern assist artists in their observation and interpretations
of visual imagery?
LEQ: How does knowing the contexts of histories and traditions of art forms help us to
create works of art?
Lesson Description: Students will be introduced to the Fibonacci sequence and will
learn how to identify and solve Fibonacci spirals. They will be introduced to traditional
artists such as Leonardo DaVinci whose work utilized the Fibonacci spiral in the
composition choices. Students will also learn how the Fibonacci sequence influenced
artists’ knowledge of scale and proportions. Each student will create a piece of art that
renders an object from nature (i.e. pine cone, sunflower, seashell, etc.) that illustrates the
Fibonacci spiral.
9.1.9A
Know and use the elements and principles of each art form to create works in the arts and
humanities
9.2.9K
Identify, explain, and analyze traditions as they relate to works in the arts
9.3.9D
Evaluate works in the arts and humanities using a complex vocabulary of critical
response
VA.RE.7.2.HSI
Analyze how one’s understanding of the world is affected by experiencing visual
imagery.
VA.CN.10.1.HSII
Utilize inquiry methods of observation, research, and experimentation to explore
unfamiliar subjects through art making.
VA.CR.1.2.HSI
Shape artistic investigations of an aspect of present-day life using a contemporary
practice of art or design.
Math Common Core Standards:
CC.2.2.HS.C.1
Use the concept and notation of functions to interpret and apply them in terms of their
context.
CC.2.2.HS.C.2
Write functions or sequences that model relationships between two quantities.
A2.2.1.1.1
Analyze a set of data for the existence of a pattern and represent the pattern with a rule
algebraically and/or graphically.
• Students will be able to identify and describe patterns and relationships amongst
objects in nature
• Students will be able to identify and solve the function of the Fibonacci sequence
• Students will be able to use the function of the Fibonacci sequence to create a
Golden spiral
• Students will be able to use the concept of the Golden spiral to determine the
Golden ratio
• Students will be able to describe the use of the Golden ratio in art and design
• Students will be able to analyze the relationship between art and mathematical
functions
• Students will be able to apply the function of the Fibonacci sequence to create an
original piece of art
Set Up:
• Post links to websites for student access
• Word wall and LEQs
• Download Nearpod app
• Create slideshow of images of objects in nature that depict the golden spiral
1. Independent reading on the golden ratio with follow-up discussion.
2. Whole class participation in Nearpod presentation- Fibonacci in nature.
3. Demonstration on the Fibonacci sequence and practice exercises.
4. Watch Divine Proportion video. Think-pair-share presentation on an artist whose
work utilized the golden ratio.
5. Whole class discussion- describe the relationship between mathematical functions
and art.
6. Practice drawing the golden spiral using the Fibonacci sequence on graph paper.
7. Select an object from nature that depicts the golden spiral and create 4-5
thumbnail sketches of various composition choices.
8. Peer critique thumbnail sketches to select the best composition choice.
9. Create a piece of art using the Fibonacci sequence that accurately depicts the
golden spiral.
• Math- Geometry/Algebra
• Nearpod presentation- Fibonacci in nature
Anticipatory Set
• Slideshow of objects in nature that have the golden spiral
o Students asked to identify common patterns that they observe
• Read the Live Science webpage, “What is the Golden Ratio?”
• Nearpod presentation
• Watch da Vinci “Divine Proportion” video on golden number website
• Students work in pairs to present to the class an artist who utilized the
golden ratio
Modeling
• Teach and demonstrate the Fibonacci sequence
• Model how to use to the golden ratio for composition choices
• Model how to use the pattern of the Fibonacci sequence to draw an
object’s golden spiral to scale with accurate proportions
Guided Practice
• Complete practice exercises of the Fibonacci sequence
• Practice creating the golden spiral on graph paper
• Create thumbnail sketches of the object
• Practice exercises- check for correct sequential pattern
• Graph paper spiral drawings- check for correct math
• Thumbnail sketches- check for balanced composition choice

• Teacher reads aloud for student or student opts to utilize voice over on the iPad
• One-on-one assistance with math/sequences
Resources:
• iPads
• Nearpod app
• Graph paper and rulers
• https://www.livescience.com/37704-phi-golden-ratio.html
• https://www.goldennumber.net/art-composition-design/
• http://www.markmitchellpaintings.com/blog/the-fibonacci-sequence-in-artistic-
composition/
Discussion Rubric

Improvement
prompt.
are grammatically
correct.
contributions.
Project Rubric

Improvement
Scale The chosen object is The chosen object is The chosen object is
rendered to scale. mostly rendered to not rendered to
scale. scale.
Proportion The chosen object is The chosen object is The chosen object is
rendered with mostly rendered not rendered with
accurate with accurate accurate
proportions. proportions. proportions.
Spiral The pattern of the The golden spiral is The golden spiral
golden spiral is illustrated in the pattern is not
illustrated in the piece, but the apparent or
piece. pattern is somewhat completely
inaccurate. inaccurate.
Composition The composition The composition The composition is
shows great shows some not balanced and
understanding of understanding of there is not an
balance and focal balance and focal apparent focal point.
point. point.
Craftsmanship The piece is The piece is mostly The piece is in need
completed with completed with of attention to detail
great attention to attention to detail and neatness.
detail and the media and media is applied
is applied well. moderately well.
the project.
Unit: Islamic Designs
Key Learning
Students will learn about famous Islamic art and architecture in a historical context. We will
discuss the influential aspects of Islamic design and the tradition of some of the culture’s
artwork, with an emphasis on geometry. Students will use graph paper and tools to
experiment with constructing and combining polygons. Each student will then create their
own Islamic tile design that incorporates a geometric, symmetrical pattern that is inspired by
characteristics found in Islamic art.

How does knowledge of culture and traditions influence understanding of artistic choices?

Students will be able to Students will be able to use Students will be able to apply a
recognize ways that works a compass and straightedge specific color scheme to their
of art from the Islamic to construct geometric designs that demonstrates
world utilize geometric polygons. understanding of the elements
forms and relationships. Students will be able to and principles of art.
create a symmetrical Students will be able to explain
geometric tile design that is design choices and connections
to the Islamic culture in a
influenced by Islamic art
written statement.
and culture.

National Visual Art National Visual Art National Visual Art
VA.CR.3.1.HS1 VA.CR.1.1.HS1 VA.CN.11.1.HS1
ACTFL Math Common Core ACTFL
2.1 G.CO.12 2.2
G.CO. 13 4.2
Lesson Essential Question Lesson Essential Lesson Essential Question

How has the Islamic culture Question How can we apply
and traditions influenced How can we use geometry characteristics from Islamic art
their art and architecture? to create a complex, and culture to create an
symmetrical design? original tile design?

Symmetry Compass Islam
Geometric Repetition Culture
Calligraphy Polygons Mathematicians
Textile Philosophy
Tessellation
KNOW UNDERSTAND DO
• Symmetry • How the Islamic • Construct an equilateral triangle,
• Geometric shapes culture, history, and square, and hexagon inside of a
• Repetition traditions influenced circle
• Polygons their art, design, and • Construct combinations of
• Compass architecture polygons using graph paper,
• Islam • The common compasses, straight edges, and
• Calligraphy characteristics found geometric formulas
• Textiles in Islamic art and • Create an original tile design that
• Tessellations design utilizes common characteristics of
• How geometry is Islamic art and design
• Mathematicians
utilized in Islamic • Apply knowledge of elements of
• Philosophy
design art and design to design and color
• Culture
• The relationship scheme
between the • Explain design choices and
practices and influences from the Islamic
perspectives of the
Islam culture culture

• The relationship
between the
products and
perspectives of the
Islam culture
Unit: Islamic Tile Design Grade Level: 9-12

UEQ: How does knowledge of culture and traditions influence understanding of artistic
choices?
LEQ: How has the Islamic culture and traditions influenced their art and architecture?
LEQ: How can we use geometry to create a complex, symmetrical design?
LEQ: How can we apply characteristics from Islamic art and culture to create an original
tile design?
Lesson Description: At the beginning of this unit, the art and Spanish students will be
introduced to a brief historical, cultural background of Islamic art. We will discuss the
influential aspects of Islamic design and the tradition of some of the culture’s artwork,
with an emphasis on geometry. Students will then create their own Islamic tile design that
incorporates a geometric, symmetrical pattern that is inspired by characteristics found in
Islamic art. Once the overall design is drawn, it will be completed using a specific color
scheme such as complementary, analogous, or warm/cool colors. In the final product,
students will be assessed on complexity and accuracy of the utilization of geometry in
their designs as well as application of the applied color scheme. In addition to final
product, students will be assessed on their written self-reflections.
9.1.9 B: Recognize, know, use, and demonstrate a variety of appropriate arts elements
and principles to produce, review, and revise original works in the arts
9.1.9 C: Identify and use comprehensive vocabulary within each of the arts forms
9.2.9 E: Analyze how historical events and culture impact forms, techniques, and
purposes of works in the arts
9.2.9 F: Know and apply appropriate vocabulary used between social studies and the arts
and humanities
9.3.9 B: Analyze and interpret specific characteristics of works in the arts within each art
form
VaCr1.1.HS1: Use multiple approaches to begin creative endeavors
VaCr3.1.HS1: Apply relevant criteria from traditional and contemporary cultural contexts
to examine, reflect on, and plan revisions for works of art and design in progress
VaCn11.1.HS1: Describe how knowledge of culture, traditions, and history may
influence personal responses to art
Math Common Core State Standards:
G.CO.12: Make formal geometric constructions with a variety of tools and methods
G.CO.13: Construct an equilateral triangle, square, and regular hexagon inscribed in a
circle
American Council of the Teaching of Foreign Languages (ACTFL) standards:
2.1: Practices of Culture

Students demonstrate an understanding of the relationship between the practices and
perspectives of the culture studied.
2.2: Products of Culture

Students demonstrate an understanding of the relationship between the products and
perspectives of the culture studied.
• Students will be able to recognize ways works of art from the Islamic world
utilize geometric forms and relationships
• Students will be able to use a compass and straightedge to construct polygons
• Students will be able to create a symmetrical geometric tile design that is
influenced by Islamic art and culture
• Students will be able to apply a specific color scheme to their designs that
demonstrates understanding of the arts elements and principles
• Students will be able to explain their design choices and connections to the
Islamic culture in a written statement
Set Up:
• Copies of Metropolitan of Art Museum reading about Islamic art and culture
• Copies of project packet with vocabulary, reading comprehension questions,
preliminary sketching and brainstorming, and rubric
• Post links to websites with examples of Islamic art and design and videos about
Islamic art and architecture
• LEQs and Word Wall
• Cut white drawing paper 12”x12”
• Cut colored railroad board 13”x13”
• Gather graph paper, protractors, and compasses
1. Reading and small group discussion on “Geometric Design in Islamic Art” packet
from the Metropolitan Museum of Art- What influenced Islamic art?
2. Comparing and contrasting characteristics of Islamic art, architecture, and textiles
3. Presentation on Islamic history and culture with a virtual tour of famous Islamic
architecture in Spain
4. Whole group discussion on how art from the Islamic world utilized geometric
forms and relationships- How is geometry a part of the Islamic culture and
tradition?
5. Identifying geometric polygons and constructions in Islamic designs
6. Constructing symmetrical designs using geometric constructions
7. Brainstorming, designing, revising, and finalizing an original Islamic tile design
• Language and culture
• Math/Geometry
• Online videos about Islamic art and explanations of geometric designs
• Virtual tour of famous Islamic architectural structures
• Online discussion board for project progress critique
Anticipatory Set
• Independent reading and writing response questions followed with group
discussion
• Defining/illustrating vocabulary terms
• Video- Islamic design & geometry
• Identify polygons in artwork and practice/experiment using graph paper,
protractors, rulers, and compasses
Modeling
• Utilizing a straightedge and compass to draw polygons on graph paper
• How to provide meaningful constructive criticism using a set of
predetermined criteria
• Creating a geometric pattern using combinations of polygons
• How to shade properly with colored pencils
Guided Practice
• Practicing drawing geometric shapes and designs on graph paper using
rulers, protractors, and compasses
• Preliminary sketches of geometric and symmetrical patterns on graph
paper
• Ticket-out-the door: listing common characteristics of Islamic art and
design
• Progress critique- using criteria to provide constructive criticism

• Teacher reads aloud the reading packet and question prompts or student opts to
use voice over on the iPad
• Help student select a simplified geometric pattern for the student and allow
student to use shape tracers
• Choose a 2 color complementary color scheme (give them the option of which
set)
• Option to orally submit responses to self-reflection prompts
Resources:
• Project packet
• iPads
• Colored images of Islamic art
• Incredible Art Department lesson: Islamic Tile Drawings
• Packets for reading (from Metropolitan Museum of Art website)
• Drawing paper, pencils, tracers, rulers, tracing paper, colored pencils, and markers
• http://www.vam.ac.uk/content/articles/t/teachers-resource-maths-and-islamic-art-
and-design/
• Metropolitan Museum of Art lesson plans and resources:
http://www.metmuseum.org/toah/hd/geom/hd_geom.htm#slideshow5
• http://patterninislamicart.com/drawings-diagrams-analyses/6/pattern-islamic-art
• http://ed.ted.com/lessons/the-complex-geometry-of-islamic-design-eric-broug
• http://www.nytimes.com/2011/09/25/arts/design/islamic-art-treasures-at-the-
metropolitan-museum.html?_r=0
• http://catnaps.org/islamic/geometry2.html#fibonacci
• Architecture tour: http://viajes.elmundo.es/en_360/2012/04/toledogall/tour.html
• Spanish culture: www.espanaescultura.es
Discussion Rubric
Improvement
prompt.
are grammatically
correct.

contributions.
Project Rubric

Improvement
Design The overall design The overall design The overall design
incorporates incorporates some does not incorporate
common common common
characteristics found characteristics found characteristics found
in Islamic design. It in Islamic design. It in Islamic design
is symmetrical and is symmetrical and and it is not
incorporates incorporates some symmetrical or
geometry. geometry. geometric.
Color Scheme The design has a The design has a The design does not
specific color specific color have a specific color
scheme applied in a scheme but could scheme applied to it.
visually appealing use more variety to
manner. be visually
appealing.
Creativity The tile design is The tile design is The tile design is
original and somewhat original not original and uses
complex. and complex. simple elements.
Craftsmanship The pattern is well The overall drawing The overall drawing
balanced. The is somewhat neatly has much room for
shading is consistent completed with a improvement for
and the outlining is few areas in need of neatness.
crisp. The border improvement.
around it is
measured evenly.
Self Assessment The written self- The written self- The written self-
assessment is in assessment is in assessment is not in
complete sentences complete sentences complete sentence
and uses vocabulary but does not use format and does not
terms. vocabulary terms. use vocabulary
terms.

the project.
Chapter 4
Reflections and Discussion
The purpose of the research on STEAM curriculum was to examine the existing
teaching methods, frameworks, and tools that have been used to integrate the Arts with
STEM disciplines. Additionally, the research was collected to determine the benefits of
collaborating with cross-disciplines and implementing interdisciplinary curriculum. The
purpose of this particular project was to augment the resources for teaching STEAM and
fill a void in the secondary education division. As the Arts are still viewed as
supplementary to STEM courses in many schools, this project was initiated to advocate
for the value of the Arts in education and illustrate how the skills and concepts learned
through the Arts enhance the skills and concepts taught in STEM courses.
Fostering interdisciplinary thinking is the overarching goal of a STEAM
curriculum. Teaching students to generate creative solutions requires interdisciplinary
thinking. Throughout the research process, there was a reoccurring theme of innovation
and problem solving as the big idea or objective of STEAM curriculum. Process is
viewed as equivalent or more important than product in a STEAM-centered unit.
Students are to attain higher order thinking skills such as analyzing, interpreting,
evaluating, and creating. In order to support these skills, educators need to act as guides
and facilitators who push students to experiment, inquire, and discover.
For this particular curriculum plan there were specific topics or concepts taken
from the STEM subjects. Each of the topics had been narrowed down and selected based
upon connections between big ideas, opportunity for student choice and collaboration,
and integration of similar skillsets. The five interdisciplinary units that were constructed

for this project are not the only options for concepts that combine art and design with
STEM. There are a multitude of topics in which the arts and STEM are both present and
therefore there is an opportunity for interdisciplinary curriculum. The most efficient way
to develop a STEAM unit is to discover overlapping concepts between two or more
disciplines and select standards from each discipline and align the standards with the
objectives and assessments. Educators should consider their own areas of expertise and
content knowledge in addition to the content knowledge of cooperating educators when
selecting topics for the STEAM unit plans.
Chapter 5
Limitations and Implications for Future Research
In the STEAM curriculum plan there is an absence of collaboration amongst
educators in the co-planning of the units. Ideally, each STEAM unit should involve two
or more educators’ content knowledge, resources, and existing materials. When two or
more educators co-plan and co-teach, it increases the credibility of the content and
provides more resources overall. Collaboration amongst educators ensures that the
curriculum utilizes the correct content standards and aligns the standards with the
objectives accurately.
STEAM is in need of continued research for understanding of effective teaching
practices. It would be beneficial for educators to have access to research-based methods
of planning and implementing STEAM curriculum. Moreover, there is still limited
information on a STEAM program for K-12 schools. In order to adopt a STEAM


program, administrators and educators need to have access to effective models that allow
for collaboration and co-teaching amongst departments.
In addition to a need for STEAM research-based methods and models, there is a
need for quantitative and qualitative studies on the effectiveness of the curriculum.
Further research questions should determine the efficacy and benefits of STEAM
practices. For example: Are there academic benefits of implementing curriculum that
integrates the arts with logic-driven content areas? Does interdisciplinary curriculum
promote holistic learning and innovative thinking more than the seclusion of disciplinary
studies? Do the visual arts and STEM students equally benefit from a STEAM
curriculum framework? The STEAM movement has been continually growing, but still
needs more data to support its efficacy as well as first-hand educator accounts of the
feasibility of the execution and student reflections on their perceptions of the influence of
interdisciplinary thinking.
Epilogue
In today’s continually evolving society we need future leaders who are equipped
to solve problems with innovative solutions, collaborate with other experts, discover new
processes, and utilize technology to its greatest extent. As stated in Chapter 1, there has
been a decline in students who choose to pursue STEM careers but the STEM jobs are
growing. In order to resolve this issue, K-12 schools need to make changes to their
curricular approaches. Oftentimes students are not aware of the importance of the content
that they are provided in school. Students are completing tasks and moving on without
truly comprehending information or realizing the purpose of the topics in the school

curriculum. In a traditional secondary school setting, each course operates independently
from the students’ other courses and each department works in isolation from the others.
A STEAM curriculum and STEAM teaching practices is a viable solution to this
problem in education. Cross-curricular lessons and art integration are not new concepts.
STEAM takes integration to the next level by changing the perspective of one discipline
being supplemental to the other; instead the disciplines are of equal value and are given
an equal share in the objectives, learning activities, and assessments. Furthermore,
STEAM promotes collaboration, problem solving, and thought processes that transcend a
solitary discipline. By presenting interdisciplinary topics to students, they are forced to
take on new perspectives and employ skills from more than one content area. Instead of
receiving tasks to complete, they are encouraged to navigate their resources and
recognize the authentic application of the tools provided to them.
Ultimately, STEAM brings art education into the STEM conversation. The arts
are not typically viewed as an essential component to education. With a STEAM
approach, the arts are given a chance to demonstrate their value and contribution to
contemporary curriculum and instruction. All STEAM educators can cultivate creativity
by facilitating interdisciplinary thinking and skills. The arts already promote creativity,
critical thinking, and problem solving. When the processes of the arts are combined with
STEM there is an even greater opportunity for success and transfer of skills to future
studies.
The process of reading through and studying the literature pertaining to STEAM
education has influenced my perspective on curriculum and instruction. Prior to my
investigation of STEAM curriculum I had only been exposed to integrated art lesson

plans that touched on other subject. This experience has shown me that those lessons are
merely superficial as they gloss over supplemental subject matter. In contrast, a true
STEAM lesson plan will interconnect multiple disciplines to create a true integrated
product. As an art educator I hope to use these concepts and practices from the research
to focus my curriculum on higher order thinking skills such as creative problem solving. I
desire to have projects that are meaningful to my students and contribute to their future
endeavors beyond secondary education. Art education should not be simply learning the
proper techniques, history, and principles. The arts should encourage exploration and
transferrable skills that have an authentic application.
Although there is still an argument for ‘art for art’s sake’, I want my students to
be cognizant of all of the roles that art plays in various fields and careers. Math and
science are not devoid of art; art is not an isolated subject. The God who created the
heavens and the earth designed the most complex masterpieces that are perfect examples
of how math, science, and art are intertwined and dependent on one another. As I delved
into the curricular goals of art and STEM courses I was able to see the overlapping
concepts. The culminating process of creating unit plans from these goals reminded me of
how God’s intricate work intentionally combines beauty and logic. It is through my work
as an educator that I can acknowledge His great work and glorify Him.
References
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Messiah College

Graduate Education Student Scholarship Education

STEAM Curriculum: Arts Education As An Integral Part Of

Follow this and additional works at: https://mosaic.messiah.edu/gredu_st

Sharpening Intellect | Deepening Christian Faith | Inspiring Action

www.Messiah.edu One College Avenue | Mechanicsburg PA 17055

Curriculum and Instruction Research Project

Dr. Janet DeRosa

This research project contains an extensive exploration of a STEAM (Science,

Technology, Engineering, Art, and Math) approach to curriculum and instruction.

STEAM is continually growing as an educational model in transition from the STEM

educational (Science, Technology, Engineering, and Math) model. The research is a

response to a two-fold problem in education: a lack of preparation for future leaders in

available on STEAM frameworks, programs, curricula design, and teaching practices.

inquiry-based thinking, collaboration, and student choice. Currently there is not an

official STEAM framework or a comprehensive STEAM curriculum plan for secondary

curriculum plan that includes a semester-at-a-glance, Know-Understand-Do (KUD)

curriculum components to foster interdisciplinary thinking and avoid superficial

integrated or cross-curricular lesson plans by implementing the unit objectives.

Keywords: STEM, STEAM, curriculum, instruction, interdisciplinary, secondary

Overview of topic ............................................................................................................ 4

Contextualizing the topic ............................................................................................. 7

Purpose of the study .................................................................................................... 8

Limitations to the study ............................................................................................. 10

Definition of terms ..................................................................................................... 12

Literature review ............................................................................................................. 13

Approaches to STEAM Curricula Design ..................................................................... 13

STEM to STEAM Examples…………………………………………………………17

Interdisciplinary and Transdisciplinary Education ........................................................ 20

STEAM Teaching Practices .......................................................................................... 25

Research project .............................................................................................................. 30

STEAM Unit Plans ........................................................................................................ 38

Implications for future research .................................................................................... 73

This research project is a secondary education interdisciplinary curriculum plan,

discipline. Included in this chapter introduction is an illustration of the researcher’s

outlined and the limitations to the research are described.

equivalent instead of supplemental to STEM courses. The concept of STEAM education

appeals to me because it validates the arts in addition to fostering innovative, critical

“Reasoning ability, intuition, perception, imagination, inventiveness, creativity, problem-

marketing; it is arts education that allows these careers to flourish.

as a devotion to God, leading us to His presence (2011, p. 5). I am motivated to use my

English Standard Version).

recognize that my desire to be an educator stems from my calling to serve others.

of servant leadership intrigues me and I feel that it is what I am called to do and

convicted to do as a Christian educator. This STEAM curriculum that I have formulated

as implement characteristics of servant teaching.

Contextualizing the Problem

In our current society there is ongoing growth in technological advancement and

because it helps them to formulate innovative solutions or creatively approach problems

participation in STEM subjects, improve attainment of skills related to STEM subjects,

and promote well-rounded education” (McClanahan, 2016). The STEAM movement is

Purpose of the Study

STEAM is still in the process of gaining momentum as an educational model.

resources, the purpose of this project is to create a secondary education STEAM

or more STEM components. The overall goal is to demonstrate intentionality in the

combination of disciplines in order to meet curricular standards and objectives of more

than one content area.

In formulating a STEAM curriculum plan, extensive research on the concept of

STEAM, as well as implementation of STEAM programs or curriculum, will be

according to common themes of project-based learning, integrated curriculum, and

transdisciplinary thinking. Also, data will encompass information regarding the

following: STEAM education frameworks or models, examples of a transition from

STEM to STEAM, and STEAM teaching practices. Comprehensive research efforts in